Schlegel, Alexander; Alexander, Prescott; Fogelson, Sergey V; Li, Xueting; Lu, Zhengang; Kohler, Peter J; Riley, Enrico; Tse, Peter U; Meng, Ming
How does the brain mediate visual artistic creativity? Here we studied behavioral and neural changes in drawing and painting students compared to students who did not study art. We investigated three aspects of cognition vital to many visual artists: creative cognition, perception, and perception-to-action. We found that the art students became more creative via the reorganization of prefrontal white matter but did not find any significant changes in perceptual ability or related neural activity in the art students relative to the control group. Moreover, the art students improved in their ability to sketch human figures from observation, and multivariate patterns of cortical and cerebellar activity evoked by this drawing task became increasingly separable between art and non-art students. Our findings suggest that the emergence of visual artistic skills is supported by plasticity in neural pathways that enable creative cognition and mediate perceptuomotor integration. Copyright © 2014 Elsevier Inc. All rights reserved.
Clegg, Helen; Nettle, Daniel; Miell, Dorothy
Geoffrey Miller has hypothesized that producing artwork functions as a mating display. Here we investigate the relationship between mating success and artistic success in a sample of 236 visual artists. Initially, we derived a measure of artistic success that covered a broad range of artistic behaviors and beliefs. As predicted by Miller’s evolutionary theory, more successful male artists had more sexual partners than less successful artists but this did not hold for female artists. Also, male artists with greater artistic success had a mating strategy based on longer term relationships. Overall the results provide partial support for the sexual selection hypothesis for the function of visual art. PMID:22059085
Petcu, Eugen Bogdan; Sherwood, Katherine; Popa-Wagner, Aurel; Buga, Ana Maria; Aceti, Lanfranco; Miroiu, Rodica Ileana
Art is a characteristic of mankind, which requires superior central nervous processing and integration of motor functions with visual information. At the present time, a significant amount of information related to neurobiological basis of artistic creation has been derived from neuro-radiological cognitive studies, which have revealed that subsequent to tissue destruction, the artists continue to create art. The current study aims to review the most important cases of visual artists with stroke and to discuss artistic skills recovery and compensation as well as artistic style after stroke. The role of various central nervous system regions in artistic creation was reviewed on the basis of previously published functional studies. Our PubMed search (1995-2015) has identified 10 famous artists with right cerebral stroke as well as 5 with left cerebral stroke who survived and continued to create art after stroke. As the artists included in this review lived at various times during the twentieth century and in different countries, clinical information related to their case was limited. However, it appears that artistic skills recovery and compensation appear within days after stroke. Some of the artists would subsequently change their artistic style. All these elements have been evaluated within the context of specific clinical cases. The poststroke artistic skills recovery and compensation with development of a new style or the opposite, regaining the previous prestroke style, represents a significant element of clinical importance in medical rehabilitation as well as neuroesthetics, which requires further evaluation. At the present time, the molecular mechanisms of artistic creation are poorly understood, and more standardized clinical and experimental studies are needed.
Miller, B L; Cummings, J; Mishkin, F; Boone, K; Prince, F; Ponton, M; Cotman, C
To describe the clinical, neuropsychological, and imaging features of five patients with frontotemporal dementia (FTD) who acquired new artistic skills in the setting of dementia. Creativity in the setting of dementia has recently been reported. We describe five patients who became visual artists in the setting of FTD. Sixty-nine FTD patients were interviewed regarding visual abilities. Five became artists in the early stages of FTD. Their history, artistic process, neuropsychology, and anatomy are described. On SPECT or pathology, four of the five patients had the temporal variant of FTD in which anterior temporal lobes are involved but the dorsolateral frontal cortex is spared. Visual skills were spared but language and social skills were devastated. Loss of function in the anterior temporal lobes may lead to the "facilitation" of artistic skills. Patients with the temporal lobe variant of FTD offer a window into creativity.
entrepreneurship is an intention to go on business to seek out investment opportunities in an environment, and be able to establish and run an enterprise successfully, based on identifiable ... start to practice his father‟s craft as early as when he is six years ... artists do not attain the knowledge of Business management.
Heilman, Kenneth M; Acosta, Lealani Mae
Creativity is the development of a new or novel understanding--insight that leads to the expression of orderly relationships (e.g., finding and revealing the thread that unites). Visual artistic creativity plays an important role in the quality of human lives, and the goal of this chapter is to describe some of the brain mechanisms that may be important in visual artistic creativity. The initial major means of learning how the brain mediates any activity is to understand the anatomy and physiology that may support these processes. A further understanding of specific cognitive activities and behaviors may be gained by studying patients who have diseases of the brain and how these diseases influence these functions. Physiological recording such as electroencephalography and brain imaging techniques such as PET and fMRI have also allowed us to gain a better understanding of the brain mechanisms important in visual creativity. In this chapter, we discuss anatomic and physiological studies, as well as neuropsychological studies of healthy artists and patients with neurological disease that have helped us gain some insight into the brain mechanisms that mediate artistic creativity. © 2013 Elsevier B.V. All rights reserved.
ABSTRACT: Design tools and contents have been digitalized, forming the contemporary fields of the visual arts and design. Corporate culture demands techno-social experts who understand the arts, design, culture and society, while also having a high level of technological proficiency. New departments have opened offering alternatives in art and design education such as Visual Communication Design (VCD) and are dedicated to educating students in the practical aspect of using digital technologi...
The visual arts are rapidly changing as media moves into the web, mobile devices, and architecture. When designers and artists learn the basics of writing software, they develop a new form of literacy that enables them to create new media for the present, and to imagine future media that are beyond the capacities of current software tools. This book introduces this new literacy by teaching computer programming within the context of the visual arts. It offers a comprehensive reference and text for Processing (www.processing.org), an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity. Written by Processing's cofounders, the book offers a definitive reference for students and professionals. Tutorial chapters make up the bulk of the book; advanced professional projects from such domains as animation, performance, and installation are discussed in interviews with their creators. This secon...
Full Text Available This article explores the artistic event as pedagogical in Visual Education. It lies in the encounter between the Pictorial Turn in education and the pedagogical turn in art. Drawing from Cultural Pedagogy it seeks to cover how and under what conditions an event can be both an educational and artistic event at the same and how are instituted the spaces that promote educational events as aesthetic experiences. In this article it was pointed out conceptual and methodological bases for distinguishing the space of intersection between art and Visual Education and its political and cultural implications: Participant Art, Cultural Pedagogy and their relationships among politics and aesthetics. In this sense it analyzes the crossings of frontiers both in art and education and creates possibilities for an understanding of pedagogy of dissent.
Daly, Scott J.
Attending any conference on visual perception undoubtedly leaves one exposed to the work of Salvador Dali, whose extended phase of work exploring what he dubbed, "the paranoiac-critical method" is very popular as examples of multiple perceptions from conflicting input. While all visual art is intertwined with perceptual science, from convincing three-dimensional illusion during the Renaissance to the isolated visual illusions of Bridget Riley"s Op-Art, direct statements about perception are rarely uttered by the artists in recent times. However, there are still a number of artists working today whose work contains perceptual questions and exemplars that can be of interest to vision scientists and imaging engineers. This talk will start sampling from Op-Art, which is most directly related to psychophysical test stimuli and then will discuss "perceptual installations" from artists such as James Turrell"s, whose focus is often directly on natural light, with no distortions imposed by any capture or display apparatus. His work generally involves installations that use daylight and focus the viewer on its nuanced qualities, such as umbra, air particle interactions, and effects of light adaptation. He is one of the last artists to actively discuss perception. Next we discuss minimal art and electronic art, with video artist Nam June Paik discussing the "intentionally boring" art of minimalism. Another artist using installations is Sandy Skoglund, who creates environments of constant spectral albedo, with the exception of her human occupants. Tom Shannon also uses installations as his media to delve into 3D aspects of depth and perspective, but in an atomized fashion. Beginning with installation concepts, Calvin Collum then adds the restrictive viewpoint of photography to create initially confusing images where the pictorial content and depth features are independent (analogous to the work of Patrick Hughes). Andy Goldsworthy also combines photography with concepts of
Schroeder, David; Keefe, Daniel F
We present Visualization-by-Sketching, a direct-manipulation user interface for designing new data visualizations. The goals are twofold: First, make the process of creating real, animated, data-driven visualizations of complex information more accessible to artists, graphic designers, and other visual experts with traditional, non-technical training. Second, support and enhance the role of human creativity in visualization design, enabling visual experimentation and workflows similar to what is possible with traditional artistic media. The approach is to conceive of visualization design as a combination of processes that are already closely linked with visual creativity: sketching, digital painting, image editing, and reacting to exemplars. Rather than studying and tweaking low-level algorithms and their parameters, designers create new visualizations by painting directly on top of a digital data canvas, sketching data glyphs, and arranging and blending together multiple layers of animated 2D graphics. This requires new algorithms and techniques to interpret painterly user input relative to data "under" the canvas, balance artistic freedom with the need to produce accurate data visualizations, and interactively explore large (e.g., terabyte-sized) multivariate datasets. Results demonstrate a variety of multivariate data visualization techniques can be rapidly recreated using the interface. More importantly, results and feedback from artists support the potential for interfaces in this style to attract new, creative users to the challenging task of designing more effective data visualizations and to help these users stay "in the creative zone" as they work.
Aguggia, Marco; Grassi, Enrico
Neurological diseases which constituted traditionally obstacles to artistic creation can, in the case of migraine, be transformed by the artists into a source of inspiration and artistic production. These phenomena represent a chapter of a broader embryonic neurobiology of painting.
Full Text Available Rapid advance of location acquisition technologies boosts the generation of trajectory data, which track the traces of moving objects. A trajectory is typically represented by a sequence of timestamped geographical locations. Data visualization is an efficient means to represent distributions and structures of datasets and reveal hidden patterns in the data. In this paper, we explore a cloud model-based method for the generation of stylized renderings of trajectory data. The artistic visualizations of the proposed method do not have the goal to allow for data mining tasks or others but instead show the aesthetic effect of the traces of moving objects in a distorted manner. The techniques used to create the images of traces of moving objects include the uncertain line using extended cloud model, stroke-based rendering of geolocation in varying styles, and stylistic shading with aesthetic effects for print or electronic displays, as well as various parameters to be further personalized. The influence of different parameters on the aesthetic qualities of various painted images is investigated, including step size, types of strokes, colour modes, and quantitative comparisons using four aesthetic measures are also involved into the experiment. The experimental results suggest that the proposed method is with advantages of uncertainty, simplicity and effectiveness, and it would inspire professional graphic designers and amateur users who may be interested in playful and creative exploration of artistic visualization of trajectory data.
Wu, T.; Zhou, Y.; Zhang, L.
Rapid advance of location acquisition technologies boosts the generation of trajectory data, which track the traces of moving objects. A trajectory is typically represented by a sequence of timestamped geographical locations. Data visualization is an efficient means to represent distributions and structures of datasets and reveal hidden patterns in the data. In this paper, we explore a cloud model-based method for the generation of stylized renderings of trajectory data. The artistic visualizations of the proposed method do not have the goal to allow for data mining tasks or others but instead show the aesthetic effect of the traces of moving objects in a distorted manner. The techniques used to create the images of traces of moving objects include the uncertain line using extended cloud model, stroke-based rendering of geolocation in varying styles, and stylistic shading with aesthetic effects for print or electronic displays, as well as various parameters to be further personalized. The influence of different parameters on the aesthetic qualities of various painted images is investigated, including step size, types of strokes, colour modes, and quantitative comparisons using four aesthetic measures are also involved into the experiment. The experimental results suggest that the proposed method is with advantages of uncertainty, simplicity and effectiveness, and it would inspire professional graphic designers and amateur users who may be interested in playful and creative exploration of artistic visualization of trajectory data.
Full Text Available This study examines the social organisation of Canada’s art world from the standpoint of practising visual artists. Bringing together theories of literacy and institutional ethnography, the article investigates the literacy practices of visual artists, making visible how artists use written texts to participate in public galleries and in the social and institutional relations of the art world. Drawing on extended ethnographic research, including interviews, observational field notes and textual analyses, this study sheds light on the ways visual artists enact particular texts, enact organisational processes, and to enact the social and conceptual worlds they are a part of. Through the lens of visual artists, this study locates two particular texts – the artist statement and the bio statement – in the extended social and institutional relations of the art world.
This paper continues my 2014 February IS and T/SPIE Convention exploration into the relationship of stereoscopic vision and consciousness (90141F-1). It was proposed then that by using stereoscopic imaging people may consciously experience, or see, what they are viewing and thereby help make them more aware of the way their brains manage and interpret visual information. Environmental imaging was suggested as a way to accomplish this. This paper is the result of further investigation, research, and follow-up imaging. A show of images, that is a result of this research, allows viewers to experience for themselves the effects of stereoscopy on consciousness. Creating dye-infused aluminum prints while employing ChromaDepth® 3D glasses, I hope to not only raise awareness of visual processing but also explore the differences and similarities between the artist and scientist―art increases right brain spatial consciousness, not only empirical thinking, while furthering the viewer's cognizance of the process of seeing. The artist must abandon preconceptions and expectations, despite what the evidence and experience may indicate in order to see what is happening in his work and to allow it to develop in ways he/she could never anticipate. This process is then revealed to the viewer in a show of work. It is in the experiencing, not just from the thinking, where insight is achieved. Directing the viewer's awareness during the experience using stereoscopic imaging allows for further understanding of the brain's function in the visual process. A cognitive transformation occurs, the preverbal "left/right brain shift," in order for viewers to "see" the space. Using what we know from recent brain research, these images will draw from certain parts of the brain when viewed in two dimensions and different ones when viewed stereoscopically, a shift, if one is looking for it, which is quite noticeable. People who have experienced these images in the context of examining their own
Dr. M. Zolfaghari
smallest part of speech, but it is a starting point for the imagination of the poet, to the extent that looked sharp and sensitive poet sees the world in every letter. Accordingly, some of the functions and aspects of artistic creations and authentic style to the characters in Khaghani poetry recently have been studied. Aspects of auditory, visual aspect (type a specific word or a letter appearance and its resemblance to other things such as the shape of the teeth and mouth shaped letter “s” or a spear or arrow, the semantic aspect of the letters, numeric characters, side effects of the text of Quran sectional, the aesthetic aspect of the characters (respecting figures of speech, syllable, allegory, ambiguity, metaphor, etc. In general it can be said that the letters have a lot of potential characters in poetry and Khaghani as a creative poet and adolescent well be aware of the power of words and he could used the power in the artistic context of his poetry art
... of present realities and future challenges. The findings indicate that the artists continue to experience a lack of support from both government and the private sector in helping to market their work, to provide accessible skills development opportunities and to support community outreach initiatives undertaken by the artists.
Baldwin, Joseph; Burleigh, Alistair; Pepperell, Robert
Which is the most accurate way to depict space in our visual field? Linear perspective, a form of geometrical perspective, has traditionally been regarded as the correct method of depicting visual space. But artists have often found it is limited in the angle of view it can depict; wide-angle scenes require uncomfortably close picture viewing distances or impractical degrees of enlargement to be seen properly. Other forms of geometrical perspective, such as fisheye projections, can represent wider views but typically produce pictures in which objects appear distorted. In this study we created an artistic rendering of a hemispherical visual space that encompassed the full visual field. We compared it to a number of geometrical perspective projections of the same space by asking participants to rate which best matched their visual experience. We found the artistic rendering performed significantly better than the geometrically generated projections.
Hamilton, D G
The contribution of doctors to the visual arts is being discussed in a series of six articles. The first two articles dealt with doctors and the visual arts in New South Wales. In this, the third, doctor-artists in Victoria are discussed.
Full Text Available Artists’ practices are varied. Two extremes include the need for complete solitude when working and others who seek social environments such as collaborations in communal studio settings. In addition to these real life studio practices new technologies and social media have made it possible for artists to use virtual studio practices in the process of developing creative work. Working virtually offers a range of interesting benefits for creative practice. This article explores the author’s recent experiences in virtual studio practices in light of the literature on this topic and considers the implications for creativity. It highlights five specific benefits in using virtual studio practices and considers possible limitations of working in such a manner. In exploring virtual studio practices and arguing the case for such ways of working, this article contributes to research and understandings about creative practice by discussing one artist’s reflective experience of using virtual studio practices.
Midorikawa, Akira; Kawamura, Mitsuru
In this study, the case of a patient who developed artistic ability following a traumatic brain injury is reported. The subject was a 49-year-old male who suffered brain injury at the age of 44 due to an accidental fall. At age 48, he began drawing with great enthusiasm and quickly developed a personal style with his own biomorphic iconography. At first, his drawing was restricted to realistic reproductions of photographs of buildings, but his style of drawing changed and became more personal...
Midorikawa, Akira; Kawamura, Mitsuru
In this study, the case of a patient who developed artistic ability following a traumatic brain injury is reported. The subject was a 49-year-old male who suffered brain injury at the age of 44 due to an accidental fall. At age 48, he began drawing with great enthusiasm and quickly developed a personal style with his own biomorphic iconography. At first, his drawing was restricted to realistic reproductions of photographs of buildings, but his style of drawing changed and became more personal and expressionistic over the following 6 months.
Studies have examined the assumption that teachers have previous perceptions, beliefs and knowledge about learning (Cochran-Smith & Villegas, 2015). This study presented the In-Action Mental Model of twenty leading artist-teachers while teaching Visual Arts in three Israeli art institutions of higher Education. Data was collected in two…
Enyutina Ekaterina Dmitrievna
Full Text Available Transformation of a two-dimensional composition into a volumetric and spatial solution is based on the abstract art painting. Theoretical part of the style of the twenties laid the basic groundwork for this solution. The group "Unovis" under the supervision of Malevich aimed to create the "Suprematic Utilitarian World": the development of a new architecture, a new ornament and new forms of furniture, as well as a new type of a modern book. The theory of P. Mondrian and the group "Style" had a tremendous effect on the architecture of the twentieth century, and first of all due to the “Bauhaus” school of design, that clearly represented the rationalistic principles of architecture. Originated in art a new understanding of the material world was reflected in architecture in the most striking and decisive manner. It can be illustrated by the example of modern prominent architects who also use the methods created by artists of the early twentieth century. For example, a designer and architect Zaha Hadid uses this method in many of her projects. When modeling her future projects she designs a volumetric and spatial conceptual model - composition of desired architectural space, using suprematic composition as a basis. Modeling method makes it possible to solve a range of problems competently and methodically interesting. Their solution is necessary for the architectural practice, conceptual design and training. Among the tasks lying "on the surface" of architectural creativity we can emphasize the following: 1. Abstracting. The aim is to design a volumetric and spatial conceptual model - a composition of desired architectural space, which will reflect reality from a new angle. 2. Conceptualization allows to reveal the main idea, the basic concept, the design principle in artistic activity, to investigate the conditions of functioning and aesthetic perception of architectural work in general. 3. Defining the structure and variability in the modular
An agency of the Indian government cooperated with a United Nations Children Fund to produce posters for the child survival and development program in India. To make the posters and other visual communications more effective a workshop was planned for the artists, visualizers, and copywriters. Previous experience had shown that some visual materials were not always oriented to the local contexts and villages often misinterpreted the messages of these materials. The 12 day workshop was designed to assist artists to better understand the audiences needs. there had been little pretesting of art work for health communication and no consideration of the visual literacy of the audience. The first project in the workshop consisted of artists and copywriters visiting villages to pretest posters presently in circulation. After some reservations they quickly found that the villagers perception of the posters was entirely different than the message being conveyed. By going back and getting the villagers perceptions of common sights related to maternal and child health, the artist could better prepare communication materials. They also collected basic sociological data at each village. New posters were then prepared with the help of inputs from midwives, nurses, and other health care workers. By pretesting these materials again they were able to clarify the messages, and repeated testing showed the posters were more understandable. The participants in the workshop found that visual communications materials demand proper understanding of the subject matter and the audience. Pretesting of materials is necessary before production, and changes should be made to reflect the local culture and surroundings. Posters for rural illiterate audiences should have the minimum written text needed and visual literacy must be assessed.
Full Text Available This article employs classical grounded theory methodology to explain the creative process of artists. Two integrally connected core variables are identified: emergence and wonder. Wonder represents the experience that motivates and sustains the creation of works of art, and emergence the process by which the sense of wonder is progressively embodied in the content and form of the work. The theory describes a number of distinct phases, including the experience of wonder, immersion in artistic practice, conceiving a specific work or project, composing the work, presenting the work for an actual or potential audience, and finally moving-on. These phases involve a dynamic stream of recursive processes—sketching, refining, connecting, channeling, and assessing—that ultimately facilitate the emergence of wonder in artistic works. The theory of the emergence of wonder also appears to apply to the research processes of both grounded theory methodology and phenomenology, suggesting that these two research methodologies are more similar and have more in common with the artistic creative process than is commonly acknowledged. URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs150256
Hamilton, D G
The contribution of doctors to the visual arts is being discussed in a series of six articles. Doctor-artists in New South Wales and Victoria, and doctors as collectors, donors, gallery supporters and writers in New South Wales, have been discussed in earlier articles. This, the fourth article, deals with doctors as supporters of art galleries and artists in Victoria.
Hamilton, D G
Since Europeans first settled in Australia their doctors have been interested in the visual arts. Some have been hobby painters and sculptors, a few with great distinction. Some have been gallery supporters and administrators. A few have written art books. Some have been outstanding photographers. Of the larger number of doctors who have collected art, only those are mentioned who have made their collections public or have made important donations to galleries. The subject of Australian doctors and the visual arts will be discussed in six articles in this and following issues of the journal. The first deals with doctor-artists in New South Wales.
Full Text Available The nondominant inferior parietal lobule is probably a major "store house" of artistic creativity. The ventromedial prefrontal lobe (VMPFL is supposed to be involved in creative cognition and the dorsolateral prefrontal lobe (DLPFL in creative output. The conceptual ventral and dorsal visual system pathways likely represent the inferior and superior longitudinal fasciculi. During artistic production, conceptualization is conceived in the VMPFL and the executive part is operated through the DLFPL. The latter transfers the concept to the visual brain through the superior longitudinal fasciculus (SLF, relaying on its path to the parietal cortex. The conceptualization at VMPFL is influenced by activity from the anterior temporal lobe through the uncinate fasciculus and limbic system pathways. The final visual image formed in the visual brain is subsequently transferred back to the DLPFL through the SLF and then handed over to the motor cortex for execution. During art appreciation, the image at the visual brain is transferred to the frontal lobe through the SLF and there it is matched with emotional and memory inputs from the anterior temporal lobe transmitted through the uncinate fasiculus. Beauty is perceived at the VMPFL and transferred through the uncinate fasciculus to the hippocampo-amygdaloid complex in the anterior temporal lobe. The limbic system (Papez circuit is activated and emotion of appreciation is evoked. It is postulated that in practice the entire circuitry is activated simultaneously.
The nondominant inferior parietal lobule is probably a major "store house" of artistic creativity. The ventromedial prefrontal lobe (VMPFL) is supposed to be involved in creative cognition and the dorsolateral prefrontal lobe (DLPFL) in creative output. The conceptual ventral and dorsal visual system pathways likely represent the inferior and superior longitudinal fasciculi. During artistic production, conceptualization is conceived in the VMPFL and the executive part is operated through the DLFPL. The latter transfers the concept to the visual brain through the superior longitudinal fasciculus (SLF), relaying on its path to the parietal cortex. The conceptualization at VMPFL is influenced by activity from the anterior temporal lobe through the uncinate fasciculus and limbic system pathways. The final visual image formed in the visual brain is subsequently transferred back to the DLPFL through the SLF and then handed over to the motor cortex for execution. During art appreciation, the image at the visual brain is transferred to the frontal lobe through the SLF and there it is matched with emotional and memory inputs from the anterior temporal lobe transmitted through the uncinate fasiculus. Beauty is perceived at the VMPFL and transferred through the uncinate fasciculus to the hippocampo-amygdaloid complex in the anterior temporal lobe. The limbic system (Papez circuit) is activated and emotion of appreciation is evoked. It is postulated that in practice the entire circuitry is activated simultaneously.
Full Text Available Johan Turi (1854–1936, Nils Nilsson Skum (1872–1951 and John Savio (1902–1938 were among the first Sámi visual artists. The production of their art work occurred between the 1910s and the early 1950s. Sámi aesthetics had its basis in folklore, i.e., handicraft or duodji, which did not follow the principle of art for art’s sake but combined beauty and practicality. Art was part of community life. Not until the 1970s was the word daidda, which is Finnish in origin and which means “art”, adopted into the Sámi language. Turi and Skum became famous through their books. They drew and wrote in order to pass the traditional knowledge of their people on to succeeding generations. They also wanted to introduce Sámi life and culture to non-Sámi people. One typical feature of their work is that they depicted Sáminess in a realistic way and sought to strengthen and preserve the Sámi identity through their art. In Turi and Skum’s work, both the documentation of community life and their own personal expression were strongly present and equally important; for this reason their pictures and texts have both practical and aesthetic dimensions. They did not attend school and were self-taught artists. The third pioneer of Sámi visual arts was John Savio, who, unlike the other two, attended secondary school and studied visual arts both independently and under the guidance of a mentor. He expressively combined Western ways of depiction with Sámi subjects. My article examines what made these early Sámi artists change over from Sámi handicraft, duodji, to Western visual arts, how they used Western pictorial conventions in dealing with their Sámi subjects, and the significance of their art for Sámi identity and culture. They lived and worked under cross pressure: the first few decades of the 20th century were characterized by racial theories that denigrated Sámi people, and the period following World War II was marked by demands for
Menzel, Claudia; Kovács, Gyula; Amado, Catarina; Hayn-Leichsenring, Gregor U; Redies, Christoph
In complex abstract art, image composition (i.e., the artist's deliberate arrangement of pictorial elements) is an important aesthetic feature. We investigated whether the human brain detects image composition in abstract artworks automatically (i.e., independently of the experimental task). To this aim, we studied whether a group of 20 original artworks elicited a visual mismatch negativity when contrasted with a group of 20 images that were composed of the same pictorial elements as the originals, but in shuffled arrangements, which destroy artistic composition. We used a passive oddball paradigm with parallel electroencephalogram recordings to investigate the detection of image type-specific properties. We observed significant deviant-standard differences for the shuffled and original images, respectively. Furthermore, for both types of images, differences in amplitudes correlated with the behavioral ratings of the images. In conclusion, we show that the human brain can detect composition-related image properties in visual artworks in an automatic fashion. Copyright © 2018 Elsevier B.V. All rights reserved.
Koski, Kaisu; Holst, Johan
This project explores vaccine hesitancy through an artist-scientist collaboration. It aims to create better understanding of vaccine hesitant parents' health beliefs and how these influence their vaccine-critical decisions. The project interviews vaccine-hesitant parents in the Netherlands and Finland and develops experimental visual-narrative means to analyse the interview data. Vaccine-hesitant parents' health beliefs are, in this study, expressed through stories, and they are paralleled with so-called illness narratives. The study explores the following four main health beliefs originating from the parents' interviews: (1) perceived benefits of illness, (2) belief in the body's intelligence and self-healing capacity, (3) beliefs about the "inside-outside" flow of substances in the body, and (4) view of death as a natural part of life. These beliefs are interpreted through arts-based diagrammatic representations. These diagrams, merging multiple aspects of the parents' narratives, are subsequently used in a collaborative meaning-making dialogue between the artist and the scientist. The resulting dialogue contrasts the health beliefs behind vaccine hesitancy with scientific knowledge, as well as the authors' personal, and differing, attitudes toward these.
Stewart, Marilyn G.
National Coalition for Core Arts Standards (NCCAS) Writing Team member Marilyn G. Stewart discusses what to expect from the new "next generation" Visual Arts Standards, detailing the 4 Artistic Processes and 15 Enduring Understandings. This invited essay addresses the instructional aspects of the standards, and looks at how they can help…
Siuda, JoElla Eaglin
many years I spent attaining an associate degree, my Bachelor's, and finally, my Master's. This journey would take me many places; sometimes I traveled alone, sometimes I was aided by important individuals who helped show me the way. My life in this way demonstrates Dewey's (1916) idea of transmission and reconstruction of knowledge for future generations. This was not merely transmission for the sake of the “social continuing of life” (p. 2); instead it was a call to realize who I could possibly be. This was reconstruction of the ways of becoming a college student, of what it means to be a college student, and what it could bring to the future. As well, this dissertation notes the great breadth of curriculum that informs a life. My life was intertwined with running, music, positive thinking, and other curricula not considered the norm or part of traditional education. But these would foster my growth in college and are surely no different than the types of curricula my own students engage with. Over my years of schooling, I was as much involved in these particular curricula as I was with the chemistry I learned in the classroom. Bits of these unique curricula are interwoven throughout this narrative, enforcing the many Schubertian (1981, 2009) ideas on curriculum. Lastly, this dissertation brings into focus a unique engagement with the teaching and learning of chemistry—via the visual domain. The visual is paramount in how I learned. Pictures, images, graphs, tables, and so many other iconistic avenues offered me a means to build my understanding of science concepts. Many of the visuals that directed my path in the learning of chemistry concepts are included here, as are the images of actual work by myself and some of the students I have engaged with in my years as a teacher of artists. What I see, what my students see, are communication snapshots; they express what our knowledge of science is at a particular moment in time. Just as Kress and van Leeuwen (1996
Hou, C; Miller, B L; Cummings, J L; Goldberg, M; Mychack, P; Bottino, V; Benson, D F
The objectives of this study were to examine common patterns in the lives and artwork of five artistic savants previously described and to report on the clinical, neuropsychological, and neuroimaging findings from one newly diagnosed artistic savant. The artistic savant syndrome has been recognized for centuries, although its neuroanatomic basis remains a mystery. The cardinal features, strengths, and weaknesses of the work of these six savants were analyzed and compared with those of children with autism in whom artistic talent was absent. An anatomic substrate for these behaviors was considered in the context of newly emerging theories related to paradoxical functional facilitation, visual thinking, and multiple intelligences. The artists had features of "pervasive developmental disorder," including impairment in social interaction and communication as well as restricted repetitive and stereotyped patterns of behavior, interest, and activities. All six demonstrated a strong preference for a single art medium and showed a restricted variation in artistic themes. None understood art theory. Some autistic features contributed to their success, including attention to visual detail, a tendency toward ritualistic compulsive repetition, the ability to focus on one topic at the expense of other interests, and intact memory and visuospatial skills. The artistic savant syndrome remains rare and mysterious in origin. Savants exhibit extraordinary visual talents along with profound linguistic and social impairment. The intense focus on and ability to remember visual detail contributes to the artistic product of the savant. The anatomic substrate for the savant syndrome may involve loss of function in the left temporal lobe with enhanced function of the posterior neocortex.
with a new essence. There is a world in the heart of every letter, word and morpheme lies in the poet's point of view is not the last and smallest part of speech, but it is a starting point for the imagination of the poet, to the extent that his sharp and sensitive eye sees a world in every letter. Accordingly, this study includes some of the functions and artistic aspects of letters created novelty and authentic style in Khaghani's poetry. Auditory and visual aspect (letters of a specific word or appearance of a letter and its resemblance to other things such as the shape of " teeth" and "mouth", shape of letter "s" or " a" and "spear" and "arrow", the semantic aspect of the letters, numerical aspect of letters, inspiring from the separated letters of Quran, the aesthetic aspect of letters (respecting figures of speech, syllable, allegory, ambiguity, metaphor, simile etc. In general it can be said that the letters have a lot of potential capacity in poetry and Khaghani as a creative poet and modernist is aware of the power of words well and could use skillfully this power in the artistic context of his poetry.
Chin, Christina S.; Harrington, David M.
InnerSpark is a residential summer arts training program for high school students established by the California State Legislature (California Education Code sections 8950-8957) in order to make it possible for "artistically gifted and talented students, broadly representative of the socioeconomic and ethnic diversity of the state, to receive…
Rezende, Hugo Cesar; Ladeira, Luiz Carlos Duarte
A test facility for rewetting experiments, Emergency Cooling Visualization Device, has been erected at CDTN, with the objective of Emergency Cooling visualization device performing visual observations of basic phenomena that occur during the reflood phase of a Loss of Coolant Accident (LOCA), in a Pressurised Water Reactor (PWR), utilizing annular test sections. It permits to film or photograph the advance of a wetting front and the flow and heat transfer conditions. Then it is possible to observe the heat transfer regions and flow zones: steam convection, fog cooling, film boiling, nucleate boiling and fluid convection. Finally, this facility is the first test facility, in the Thermohydraulics Laboratory of CDTN, that uses a indirectly heated fuel rod simulator. (author). 3 refs, 5 figs
Istomin, Kirill V; Panáková, Jaroslava; Heady, Patrick
In a study of three indigenous and non-indigenous cultural groups in northwestern and northeastern Siberia, framed line tests and a landscape drawing task were used to examine the hypotheses that test-based assessments of context sensitivity and independence are correlated with the amount of contextual information contained in drawings, and with the order in which the focal and background objects are drawn. The results supported these hypotheses, and inspection of the regression relationships suggested that the intergroup variations in test performance were likely to result from differences in the attention accorded to contextual information, as revealed by the drawings. Social and environmental explanations for the group differences in context sensitivity are also discussed. The conclusions support the argument that cultural differences in artistic styles and perceptual tests reflect the same underlying perceptual tendencies, and they are consistent with the argument that these tendencies reflect corresponding differences in patterns of social and environmental interaction. Copyright © 2013 Cognitive Science Society, Inc.
Sellal, François; Musacchio, Mariano
Artistic creativity can be defined as the ability to produce both innovative and esthetic works. Though most dementias result in a loss of instrumental functions and a deterioration in artistic production, for some established artists, dementia, most often Alzheimer's disease, changed their style and technique but preserved their creativity and prolific artistic drive. Moreover, in some cases, mainly frontotemporal dementia, Parkinson's disease, and very occasionally strokes, the disease may favour the emergence of de novo artistic talent. This phenomenon has been conceptualized as a paradoxical facilitation, a disinhibition of brain areas devoted to visuospatial processing, greater freedom in a patient who becomes less bound by social conventions, enhancement of motivation and pleasure, etc. These neurological cases provide an opportunity to shed some light on the roots of artistic creation.
In many early childhood classrooms, visual arts experiences occur around a communal arts table. A shared workspace allows for spontaneous conversation and exploration of the art-making process of peers and teachers. In this setting, conversation can play an important role in visual arts experiences as children explore new media, skills, and ideas.…
Worrall, James C
The primary objective of this study was to compare the results of nurse-performed urinalysis (NPU) interpreted visually in the emergency department (ED) with laboratory performed urinalysis (LPU) interpreted by reflectance photometry. This was a prospective observational study based on a convenience sample from my emergency practice. Emergency nurses, who were unaware of the study, performed usual dipstick analysis before sending the same urine sample to the laboratory for testing. Of 140 urinalyses performed during the study period, 124 were suitable for analysis. When compared with the reference standard LPU, the NPU had an overall sensitivity of 100% (95% confidence interval [CI] 95%-100%) and a specificity of 49% (95% CI 33%-65%) for the presence of any 1 of blood, leukocyte esterase, nitrites, protein, glucose or ketones in the urine. Of 20 falsely positive NPUs, 18 were a result of the nurse recording 1 or more components as "trace" positive. Although NPU does not yield identical results to LPU, a negative LPU is expected when the initial NPU in the ED is negative.
Full Text Available The paper analyses the relationship between religious practices, belief and the media based on the medial layering of communication. The arguments are situated within the fields of studies in visual culture and cultural studies, reflecting on the role of art as a specific medium in the Western religious tradition. Vera Frenkel’s video This Is Your Messiah Speaking (1990 is reviewed as a critical inquiry into religious practices and the media structures of communication.
Kenet, Tal; Bibitchkov, Dmitri; Tsodyks, Misha; Grinvald, Amiram; Arieli, Amos
Spontaneous cortical activity-ongoing activity in the absence of intentional sensory input-has been studied extensively, using methods ranging from EEG (electroencephalography), through voltage sensitive dye imaging, down to recordings from single neurons. Ongoing cortical activity has been shown to play a critical role in development, and must also be essential for processing sensory perception, because it modulates stimulus-evoked activity, and is correlated with behaviour. Yet its role in the processing of external information and its relationship to internal representations of sensory attributes remains unknown. Using voltage sensitive dye imaging, we previously established a close link between ongoing activity in the visual cortex of anaesthetized cats and the spontaneous firing of a single neuron. Here we report that such activity encompasses a set of dynamically switching cortical states, many of which correspond closely to orientation maps. When such an orientation state emerged spontaneously, it spanned several hypercolumns and was often followed by a state corresponding to a proximal orientation. We suggest that dynamically switching cortical states could represent the brain's internal context, and therefore reflect or influence memory, perception and behaviour.
In Sweden, during the last decade, the artist has come to function as a creative resource in workplaces. There are two organisations, Skiss (Contemporary Artist in the Contemporary Society) and Airis (Artist in Residence), that organise projects for artists and coworkers. These projects are intended to have a positive effect on the well-being of organisations and their employees through artistic means, and the artist often focuses on the social interaction between the employees in their work. The artists' work involves frequent interaction with coworkers. The aim of this article was to describe how visual artists' roles as artists are affected by their engagement in artistic and social projects at workplaces in Sweden. The focus in the article is on the social interaction between artists and employees. The study is a qualitative narrative interview study with fine artists participating in different projects in work life. Since the artist's intervention is usually directed towards social relations in the workplaces, a social perspective on well-being is from a micro-sociological point of view. The categories in the interviews were how the artists worked with the projects, how the social interaction between artists and coworkers worked out, and how the artists evaluated the projects in relation to their ambitions. The results show that, many times, the artistic projects promote well-being in organisations and to some extent benefit the artist, but that the ability of the artists to actually function as artists can be problematic.
From 5 to 7 June, two Austrian high-school classes met in Graz (Austria) for the Art&Science@School project. Launched by Michael Hoch from the CMS collaboration, the programme aims to show them another face of science through art. On the first day, 62 teenagers from the BORG and GIBS schools attended a masterclass, where scientists from the CMS institute HEPHY (Vienna) provided information on colliders and detectors at CERN and explained the principles of high-energy physics. The students even had the chance to analyse real CERN data sets to “find” new particles. They also discovered the close link between science and art over the centuries and how contemporary artists visualise modern science and technology today. On the second day, under the supervision of art teachers, the students created an artwork from idea and concept to realisation and presentation. “I was completely amazed by the standard of the four artworks and by ...
Full Text Available Biennial Conference Presented by: Keith Ferguson Date: 9 October 2012 Mobile IPTV Broadcasting Platform Consortium: CSIR, UCT, ECA Funded by TIA 2008-2011 ARTIST Project Min time - sacrifice quality Max quality - sacrifice time Application Context... idth > ARTIST Platform Advertiser Client 1 Client 2 Client 3 Client 4 Sport channel News channel Wildlife channel Advert database Transaction database Transcoder Servers Media Switching Servers INTERNET Channel viewing Advert upload...
Gibbs, Raymond W
Bullot & Reber (B&R) correctly include historical perspectives into the scientific study of art appreciation. But artistic understanding always emerges from embodied simulation processes that incorporate the ongoing dynamics of brains, bodies, and world interactions. There may not be separate modes of artistic understanding, but a continuum of processes that provide imaginative simulations of the artworks we see or hear.
Carmen M. Zavala Arnal
Full Text Available This paper shows the results of an experiment consisting of a sequence of didactic activities carried out with students of first grade of Musical Language of Professional Conservatory Education through the artistic picture as main tool for the historical and musical contextualization and to support musical audition and interpretation. On this occasion, the central panel of the altarpiece of the Coronation of the Virgin from the parochial church of Retascón (Zaragoza, made in the first third of the fifteen century by the Master of Retascón, which includes singing angels with music sheet rolls / music scrolls, is the medium through which the different learning activities are going to be developed. In addition, an unpublished iconographic-musical description of the selected work is provided. With the aim of reaching some specific learning objects related to Medieval and modal music, apart from the particular methodologies of artistic and musical education, the quantitative method is used. Its results confirm the usefulness of the artistic picture in Musical Language learning.
Greitzer, Frank L.
This is an overview report to document and illustrate methods used in a project entitled “Normal and Emergency Operations Visualization” for a utility company, conducted in 2009-2010 timeframe with funding from the utility company and the U.S. Department of Energy. The original final report (about 180 pages) for the project is not available for distribution because it alludes to findings that assessed the design of an operational system that contained proprietary information; this abridged version contains descriptions of methods and some findings to illustrate the approach used, while avoiding discussion of sensitive or proprietary information. The client has approved this abridged version of the report for unlimited distribution to give researchers and collaborators the benefit of reviewing the research concepts and methods that were applied in this study.
As soon as they graduate from arm-length viewing in shopping-cart seats, children take off to adventure in aisles, touching just about everything. Kids will pocket fallen signs and lug unusual, empty shelves and packaging materials in hopes of taking them home. Kids recognize and compliment supermarket artists--stock clerks who create container…
Full Text Available I am equally interested in the ‘childless mother’, the ‘allmother’, and in fantasies of maternity as I am in the actual experience. Along these lines, I think in particular of the artists Frida Kahlo, Tracey Emin and Tabitha Moses. I sometimes think that the reality of motherhood can hinder art making, and that being a ‘mother artist’ has nothing at all to do with having children.
Full Text Available Hock, Beáta. 2013. Gendered Artistic Positions and Social Voices - Politics, Cinema and the Visual Arts in State-Socialist and Post-Socialist Hungary. Stuttgart: Franz Steiner Verlag. 284 pp. illus. Reviewed by Lilla Tőke, Assistant Professor, City University of New York, LaGuardia Community College
Antonella Del Rosso
As the Arts@CERN programme testifies, CERN is no stranger to the collision of science and art. Just before Christmas, the Slovak artist Ján Zoričák exhibited his glass artworks at CERN, some of which make use of crystals from the OPAL experiment. We take a look at the artist, the science that inspired him and the techniques that he uses. It took 10 months to create the 22 glass artworks in the exhibition, six of which make use of lead glass from the calorimeter of OPAL, one of the four main LEP experiments. Ján Zoričák has been a glass sculptor for several decades. In his capable hands, glass seems to take on a new energy, as he uses the contrast in temperature when glass heated for up to 48 hours at extremely high temperatures is exposed to a very cold source until it fractures. The resulting cracks break up the homogeneity and regularity of the glass and play with light and shadow, an effect that is majestically reinforced by finishing and polish...
Takahata, Keisuke; Saito, Fumie; Muramatsu, Taro; Yamada, Makiko; Shirahase, Joichiro; Tabuchi, Hajime; Suhara, Tetsuya; Mimura, Masaru; Kato, Motoichiro
Over the last two decades, evidence of enhancement of drawing and painting skills due to focal prefrontal damage has accumulated. It is of special interest that most artworks created by such patients were highly realistic ones, but the mechanism underlying this phenomenon remains to be understood. Our hypothesis is that enhanced tendency of realism was associated with accuracy of visual numerosity representation, which has been shown to be mediated predominantly by right parietal functions. Here, we report a case of left prefrontal stroke, where the patient showed enhancement of artistic skills of realistic painting after the onset of brain damage. We investigated cognitive, functional and esthetic characteristics of the patient׳s visual artistry and visual numerosity representation. Neuropsychological tests revealed impaired executive function after the stroke. Despite that, the patient׳s visual artistry related to realism was rather promoted across the onset of brain damage as demonstrated by blind evaluation of the paintings by professional art reviewers. On visual numerical cognition tasks, the patient showed higher performance in comparison with age-matched healthy controls. These results paralleled increased perfusion in the right parietal cortex including the precuneus and intraparietal sulcus. Our data provide new insight into mechanisms underlying change in artistic style due to focal prefrontal lesion. Copyright © 2014 Elsevier Ltd. All rights reserved.
Cheung, Cindy A; Rogers-Martel, Melanie; Golas, Liliya; Chepurny, Anna; Martel, James B; Martel, Joseph R
Ocular trauma is recognized as the leading cause of unilateral blindness. However, few studies to date have focused on the clinical features of hospital-based ocular emergencies. Effectiveness of trauma centers in treating ocular emergencies was compared with treatment in traditional community hospital emergency departments. Demographics, causes, and nature of ocular emergencies, as well as visual outcome in community hospitals emergency departments and trauma centers, were also examined. Records of 1027 patients with ocular emergencies seen between July 2007 and November 2010 at 3 community hospitals emergency departments and 2 hospitals with level II trauma centers were retrospectively examined. Unpaired t test and Pearson χ(2) test were used to determine statistical significance. The incidence of patients requiring ophthalmic intervention was 77.2 per 100 000 in the community hospitals and 208.9 per 100 000 in the trauma centers. Rates of ocular emergencies were higher in middle-aged, white men. Orbital fractures were found in 86% of all orbital contusion cases in trauma centers, whereas 66.7% of patients with fall injuries and open globe diagnoses resulted in legal blindness. The middle-aged, white men are more vulnerable to ocular injuries caused mainly by motor vehicle accidents. The ability of trauma centers to provide comparable increases in vision outcomes, despite treating more severe ocular emergencies, demonstrates the effectiveness of trauma centers. Patients diagnosed as having orbital contusions or who have fall injuries deserve careful evaluation because they are more likely to have more severe sight-threatening injuries. Copyright © 2014 Elsevier Inc. All rights reserved.
Hamilton, D G
The contributions of Australian doctors to the visual arts are being described in a series of six articles. Work from doctors in New South Wales and Victoria has been covered previously. Now activities in South Australia, Tasmania, Western Australia, Queensland and the Northern Territory are presented.
Kozbelt, Aaron; Dexter, Scott; Dolese, Melissa; Meredith, Daniel; Ostrofsky, Justin
We applied computer-based text analyses of regressive imagery to verbal protocols of individuals engaged in creative problem-solving in two domains: visual art (23 experts, 23 novices) and computer programming (14 experts, 14 novices). Percentages of words involving primary process and secondary process thought, plus emotion-related words, were…
de Bloois, J.
This introduction constitutes a first attempt to trace the origins and contexts of 'visual autofiction'. 'Autofiction' has proven to be a particularly productive concept in literary studies. However, taking a closer look at 'autofiction' shows that this notion is closely related to themes and
Full Text Available 1972. A new mother lives in a communal household. The group thinks that the state will wither away, capitalism too. When the group asks the mother to wean her baby, the better to share equally the responsibility of childrearing, the mother cries. The mother does not want to wean her child. The mother wants to be the primary caregiver. For the mother, this is the moment when the psychoanalytic enters the discourse, no Marx without Freud, no Lacan without Kristeva: in the new world, universal childcare will be necessary but not sufficient. The mother is Mary Kelly, the artist whose early career would cohere around soiled diapers, and whose practice has always been profoundly on the side of the maternal.
Full Text Available Vehicular traffic is endlessly increasing everywhere in the world and can cause terrible traffic congestion at intersections. Most of the traffic lights today feature a fixed green light sequence, therefore the green light sequence is determined without taking the presence of the emergency vehicles into account. Therefore, emergency vehicles such as ambulances, police cars, fire engines, etc. stuck in a traffic jam and delayed in reaching their destination can lead to loss of property and valuable lives. This paper presents an approach to schedule emergency vehicles in traffic. The approach combines the measurement of the distance between the emergency vehicle and an intersection using visual sensing methods, vehicle counting and time sensitive alert transmission within the sensor network. The distance between the emergency vehicle and the intersection is calculated for comparison using Euclidean distance, Manhattan distance and Canberra distance techniques. The experimental results have shown that the Euclidean distance outperforms other distance measurement techniques. Along with visual sensing techniques to collect emergency vehicle information, it is very important to have a Medium Access Control (MAC protocol to deliver the emergency vehicle information to the Traffic Management Center (TMC with less delay. Then only the emergency vehicle is quickly served and can reach the destination in time. In this paper, we have also investigated the MAC layer in WSNs to prioritize the emergency vehicle data and to reduce the transmission delay for emergency messages. We have modified the medium access procedure used in standard IEEE 802.11p with PE-MAC protocol, which is a new back off selection and contention window adjustment scheme to achieve low broadcast delay for emergency messages. A VANET model for the UTMS is developed and simulated in NS-2. The performance of the standard IEEE 802.11p and the proposed PE-MAC is analysed in detail. The NS-2
Nellore, Kapileswar; Hancke, Gerhard P
Vehicular traffic is endlessly increasing everywhere in the world and can cause terrible traffic congestion at intersections. Most of the traffic lights today feature a fixed green light sequence, therefore the green light sequence is determined without taking the presence of the emergency vehicles into account. Therefore, emergency vehicles such as ambulances, police cars, fire engines, etc. stuck in a traffic jam and delayed in reaching their destination can lead to loss of property and valuable lives. This paper presents an approach to schedule emergency vehicles in traffic. The approach combines the measurement of the distance between the emergency vehicle and an intersection using visual sensing methods, vehicle counting and time sensitive alert transmission within the sensor network. The distance between the emergency vehicle and the intersection is calculated for comparison using Euclidean distance, Manhattan distance and Canberra distance techniques. The experimental results have shown that the Euclidean distance outperforms other distance measurement techniques. Along with visual sensing techniques to collect emergency vehicle information, it is very important to have a Medium Access Control (MAC) protocol to deliver the emergency vehicle information to the Traffic Management Center (TMC) with less delay. Then only the emergency vehicle is quickly served and can reach the destination in time. In this paper, we have also investigated the MAC layer in WSNs to prioritize the emergency vehicle data and to reduce the transmission delay for emergency messages. We have modified the medium access procedure used in standard IEEE 802.11p with PE-MAC protocol, which is a new back off selection and contention window adjustment scheme to achieve low broadcast delay for emergency messages. A VANET model for the UTMS is developed and simulated in NS-2. The performance of the standard IEEE 802.11p and the proposed PE-MAC is analysed in detail. The NS-2 simulation results
Varella, André A B; de Souza, Deisy G
Empirical studies have demonstrated that class-specific contingencies may engender stimulus-reinforcer relations. In these studies, crossmodal relations emerged when crossmodal relations comprised the baseline, and intramodal relations emerged when intramodal relations were taught during baseline. This study investigated whether auditory-visual relations (crossmodal) would emerge after participants learned a visual-visual baseline (intramodal) with auditory stimuli presented as specific consequences. Four individuals with autism learned AB and CD relations with class-specific reinforcers. When A1 and C1 were presented as samples, the selections of B1 and D1, respectively, were followed by an edible (R1) and a sound (S1). Selections of B2 and D2 under the control of A2 and C2, respectively, were followed by R2 and S2. Probe trials tested for visual-visual AC, CA, AD, DA, BC, CB, BD, and DB emergent relations and auditory-visual SA, SB, SC, and SD emergent relations. All of the participants demonstrated the emergence of all auditory-visual relations, and three of four participants showed emergence of all visual-visual relations. Thus, the emergence of auditory-visual relations from specific auditory consequences suggests that these relations do not depend on crossmodal baseline training. The procedure has great potential for applied technology to generate auditory-visual discriminations and stimulus classes in the context of behavior-analytic interventions for autism. © Society for the Experimental Analysis of Behavior.
In this paper, I ask whether it is possible to exert creative direction on the emergence of large scale patterns from the actions of autonomous or semi-autonomous actors. As an artist and an engineer, I undertake installations and projects with an intent to create, to make art or innovative...... structures. At the same time, one of my artistic interests is in ceding a great deal of creative control to a cluster of robotic actors, in the process interrogating the lack of control that we, as a species, exert over the world. Here, I explore this idea in the context of an ongoing project called...... that navigate the space as well. My work has implications for how we as a species address planetary-scale challenges and whether we can organize societies to find emergent solutions to complex problems. Behind my artistic interest is the idea that "creation" has no teleological impulse. The creative force from...
Full Text Available Visual registers of Latin America acquired new characteristics at the dawning of the 19th century. Alongside the pointedly secular practice of the scientific Enlightenment, naturalistic in character, there emerged an artistic current that produced images with a strong subjective quality. This American iconography of the 19th century was the work of traveling artists. In the exercise of their work, painters and drawers were led through modern esthetical premises that proposed an amalgam of artistic activity and the production of scientific knowledge. This article intends to venture into that genre of the arts based on a study of the theoretical context that sustains it, observing the range of themes it covered.
Los registros visuales de la América ibérica adquirieron un perfil nuevo con los albores del siglo XIX. Paralelamente a la práctica más que secular de la ilustración científica de carácter naturalista surgió una vertiente artística que produjo un tipo de imágenes con una fuerte carga subjetiva. Esa iconografía americana decimonónica fue obra de los artistas viajeros. En el ejercicio de su tarea, pintores y dibujantes fueron conducidos por premisas estéticas modernas, que proponían una amalgama del quehacer artístico con la producción de conocimiento científico. Este artículo propone una incursión en ese género de las bellas artes a partir de un estudio del contexto teórico que la sustenta, observando el abanico temático que abarcó.
In this article, the author discusses how art, politics, and life intersect in a South African community visual arts studio program that seeks to educate artists as change agents. Artist Proof Studio (APS) was founded in 1991 and responded to the challenge of building democracy in a postapartheid South Africa. It is a community art center in…
Children are born artists, and artistic talent emerges from the interplay of proclivity, cultural enrichment, and nurturance. Intended to demystify art for parents and teachers and to help them understand what the art experience is like for the child or adolescent, this book discusses visual art concepts in simple terms and presents art as a…
Ravin, James G
To investigate the effects of eye diseases on several important artists who have been given little attention from a medical-historical viewpoint. The examples chosen demonstrate problems artists have had to face from different types of eye disease, including cataract, glaucoma, and retinal diseases. The ophthalmological care provided is described in terms of scientific knowledge at the time. Investigation of primary and secondary source material. Discussion with art historians and ophthalmic historians. Examination of work by the artists. Artists can be markedly affected by ocular diseases that change their ability to see the world. The individuals described here worked during the 19th century and first half of the 20th century. Homer Martin suffered from cataracts, and his works reveal changes in details and color as he aged. Henri Harpignies, who had an extremely long career, undoubtedly had cataracts and may also have had macular degeneration. Angle-closure glaucoma blinded Jules Chéret. Auguste Ravier suffered from neovascular glaucoma in one eye and was able to work with his remaining eye, which developed a cataract. Louis Valtat suffered from what was in all likelihood open-angle glaucoma, but specific changes due to this disease are not apparent in his work. Roger Bissière developed glaucoma and did well following filtration surgery. George Du Maurier lost one eye from what was probably a retinal detachment and later suffered from a central retinal problem in the other eye. Diseases of the eye may profoundly influence artists by altering their perception of the world. The specific effects may vary, depending on the disease, its severity, and the psychology of the artist. Cataracts typically affect an artist's ability to depict color and detail. The effect of glaucoma generally depends on whether central vision is preserved. Disease that affects the center of the retina has a substantial effect on an artist's ability to depict fine details. Ophthalmological
Candido, Marcos Antonio; Mesquita, Amir Zacarias; Rezende, Hugo Cesar; Santos, Andre Augusto Campagnole
The nuclear reactors safety is determined according to their protection against the consequences that may result from postulated accidents. The Loss of Coolant Accident (LOCA) is one the most important design basis accidents (DBA). The failure may be due to rupture of the primary loop piping. Another accident postulated is due to lack of power in the pump motors in the primary circuit. In both cases the reactor shut down automatically due to the decrease of reactivity to maintain the fissions, and to the drop of control rods. In the event of an accident it is necessary to maintain the coolant flow to remove the fuel elements residual heat, which remains after shut down. This heat is a significant amount of the maximum thermal power generated in normal operation (about 7%). Recently this event has been quite prominent in the press due to the reactor accident in Fukushima nuclear power station. This paper presents the experimental facility under rebuilding at the Thermal Hydraulic Laboratory of the Nuclear Technology Development Center (CDTN) that has the objective of monitoring and visualization of the process of emergency cooling of a nuclear fuel rod simulator, heated by Joule effect. The system will help the comprehension of the heat transfer process during reflooding after a loss of coolant accident in the fuel of light water reactor core. (author)
Interview with René Yáñez, artist, co-founder of the Galería de la Raza, San Francisco, CA, USA, August 13, 2001 Entretien avec René Yáñez, artiste, co-fondateur de la Galería de la Raza, San Francisco, CA, Etats-Unis
Full Text Available René Yáñez is an all-round visual artist and visionary, now in his sixties. He came out of the Chicano movement of the 70’s and was instrumental in founding the Galería de la Raza in the Mission district of San Francisco. He remained some fifteen years as its director, curating exhibitions, directing and promoting emerging artists of all kinds. He then worked as director of cultural programming at the Mexican Museum until its closure. René Yáñez co-produced Mexican performance artist Astrid H...
Serrano, C; Allegri, R F; Martelli, M; Taragano, F; Rinalli, P
Visual art is an expression of neurological function and how it organizes and interprets perception. The art is predominantly in the right hemisphere, in contrast, the left side, have inhibitory effects on artistic expression. In normal subjects, inhibitory and excitatory mechanisms could interact in a complex harmony, reflecting a paradoxical functional facilitation. Brain diseases such as dementia could change this harmony and then, alter the artistic abilities. Evaluate the art expression in the degenerative diseases. Artistic abilities of 3 painters with degenerative diseases were assessment. Patient 1: A 83 - year old right handed female, diagnosis: Alzheimer's disease. Artistic description: low productivity, simplified versions of earlier and alteration of the visuospatial organization. Patient 2: A 78-year-old right handed female, diagnosis: Primary Progressive Aphasia (PPA); Artistic description: oversimplified drawings which maintaining overall spatial organization, without impair artistic skills. Patient 3: A 68 year-old right handed woman, diagnosis: Fronto-Temporal Dementia (FTD). Artistic description: Increased artistic activity, originality, freedom, utilization of intense colours with perseverative and repetitive copying of similar paintings of her own work. Visual art in Alzheimer's disease is a consequence of visuospatial and constructive disabilities. In contrast, the conservation of this cognitive functions and left asymmetrical involved, in FTD and PPA respectively, suggest artistic preservation, independently of the language injury. The disproportionate functional prevalence of the right over the left could lead to a release of novelty - seeking in art and can contribute to emergent creativity. These observations suggest an organization for art in the brain and proposed bases for further investigations in dementias.
Guo, D; Li, J; Zhou, Y; Cao, H
The unconventional emergency, usually outbreaks more suddenly, and is diffused more quickly, but causes more secondary damage and derives more disaster than what it is usually expected. The data volume and urgency of emergency exceeds the capacity of current emergency management systems. In this paper, we propose a three-tier collaborative spatio-temporal visual analysis architecture to support emergency management. The prototype system, based on cloud computation environment, supports aggregation of massive unstructured and semi-structured data, integration of various computing model sand algorithms; collaborative visualization and visual analytics among users with a diversity of backgrounds. The distributed data in 100TB scale is integrated in a unified platform and shared with thousands of experts and government agencies by nearly 100 models. The users explore, visualize and analyse the big data and make a collaborative countermeasures to emergencies
Taddeo, Terrance A.
During recent long duration missions to the International Space Station (ISS) crewmembers have reported changes in visual acuity or visual field defects. Exams in the postflight period revealed changes to the visual system and elevated intracranial pressures. As a result, NASA Space Medicine has added a number of tests to be performed in the preflight, inflight and postflight periods for ISS and shuttle missions with the goal of determining the processes at work and any potential mitigation strategies. This discussion will acquaint you with the changes that NASA has made to its medical requirements in order to address the microgravity induced intracranial hypertension and associated visual changes. Key personnel have been assembled to provide you information on this topic. Educational Objectives: Provide an overview of the current Medical Operations requirements and the mitigation steps taken to operationally address the issue.
Mazzucchi, Anna; Sinforiani, Elena; Boller, François
This chapter reviews the changes produced by age on various aspects of artistic painting, particularly creativity and actual production. Aging in trained painters is often accompanied by a decline in creativity, which in turn is due to the cognitive decline related to aging. It has been argued, however, that aging does not cause a decline, but only changes in style and content. The two views are not mutually exclusive, and we present examples illustrating both aspects. We also show that, in addition to cognitive changes, impairment of sensory organs, especially vision, and of the bones and joints, may also produce marked changes in an artist's production and style. We conclude by showing that finding ways to induce creativity in persons who do not consider themselves artists can be a way of stimulating creativity and contribute to successful aging. © 2013 Elsevier B.V. All rights reserved.
King, Penny; Roundhill, Clare
This instructional resource, designed to be used by and with elementary level students, presents six portraits by master artists from diverse cultures and historic periods, as starting points for exploring various artistic techniques. Images include: "Dead King Amenophis I" (Egyptian, 1050 B.C); "Head of Neptune" (Roman, 500…
Wilson, Robert A
I propose that in at least some cases, objects of artistic appreciation are best thought of not simply as causes of artistic appreciation, but as parts of the cognitive machinery that drives aesthetic appreciation. In effect, this is to say that aesthetic appreciation operates via extended cognitive systems.
Botella, Marion; Glaveanu, Vlad Petre; Zenasni, Franck
This study sought to identify the factors that artists consider important for their creativity and to reconstruct, from interviews, the stages of their creative activity. For this purpose, 27 interviews with professional artists were analyzed using a double approach. First, a quantitative analysis...
Bille, Trine; Jensen, Søren
, networks and signaling effects. We analyze the question by using a unique longitudinal dataset for five different groups of artists in Denmark, using the Cox model to apply survival functions and semi-parametric analysis. The results show, among other things, that an artistic education has a significant......The literature of cultural economics generally finds that an artistic education has no significant impact on artists’ income and careers in the arts. In artists’ labor markets, indefinable features such as talent and artistic creativity apparently contribute more to success or higher rates...... of payment than education and training. In this article, we will readdress this question by looking at the artists’ survival in the arts occupations. We find it reasonable to expect than an artistic education can have a significant impact on artists’ careers because of the importance of technical skills...
Full Text Available Gender and age have been found to affect adults’ audio-visual (AV speech perception. However, research on adult aging focuses on adults over 60 years, who have an increasing likelihood for cognitive and sensory decline, which may confound positive effects of age-related AV-experience and its interaction with gender. Observed age and gender differences in AV speech perception may also depend on measurement sensitivity and AV task difficulty. Consequently both AV benefit and visual influence were used to measure visual contribution for gender-balanced groups of young (20-30 years and middle-aged adults (50-60 years with task difficulty varied using AV syllables from different talkers in alternative auditory backgrounds. Females had better speech-reading performance than males. Whereas no gender differences in AV benefit or visual influence were observed for young adults, visually influenced responses were significantly greater for middle-aged females than middle-aged males. That speech-reading performance did not influence AV benefit may be explained by visual speech extraction and AV integration constituting independent abilities. Contrastingly, the gender difference in visually influenced responses in middle adulthood may reflect an experience-related shift in females’ general AV perceptual strategy. Although young females’ speech-reading proficiency may not readily contribute to greater visual influence, between young and middle-adulthood recurrent confirmation of the contribution of visual cues induced by speech-reading proficiency may gradually shift females AV perceptual strategy towards more visually dominated responses.
van Rijn, I.A.M.J.
Artists’ texts are texts written and produced by visual artists. Their number increasing since the 2000s, it becomes important to clarify their obscure relationship to art institutions. Analysing and comparing four different artists’ texts on a textual level, this research proposes an alternative to
Individuals' emotional makeup and leadership style affect the success of their organizations. Artists are intuitive, open minded, and visionary; technocrats are uncompromising, analytical, and emotionally distant; and craftsmen are practical and demanding but can accept others' mistakes. (JOW)
A bundle of flexible pipes arcing toward the Vehicle Assembly Building (left) and Operations Support Building (right) presents an artistic design to travelers on nearby Kennedy Parkway and Saturn Causeway.
Monthoux, Pierre Guillet de
Purpose – The purpose of this article is to examine the similarities between creative business leadership and successful artists and to illustrate how the label “outside artist” is a romantic myth. Design/methodology/approach – Making use of four cases in classical music history, this study...... analyzes how a quartet of musical artists negotiated their space inside highly organized and changing environments. Findings – Many qualities exhibited by musical artists are similar to those required of successful organizational managers. One of the reasons that insider artistry is a complex phenomenon...... is that socio-organizational conditions are not fixed, they change. Therefore, each new generation of artists has to invent new strategies to get the job done. Practical implications – Understanding the nature of these similar qualities will help clarify the issue of making art work inside organizations...
of humanist agitation (rather than feminist) which aims at re- channelling ... forces in both their family and society. I wish to ... artist of today afford the luxury of wanton stage business .... Western theories that gave birth to postmodernism. Let us.
In this review, the author focuses on the pragmatic consideration: How do artists do artistic research? Artistic research in the context of this review is about the connections and relationships among three primary domains: (1) the arts; (2) higher education; and (3) arts education. Broadly stated, all artists do research when they do art--whether…
Oxvig, Henrik; Peder Pedersen, Claus
A mail correspondence between heads of research at respectively The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation and the Aarhus School of Architecture. The correspondence discuss how to implement artistic research.......A mail correspondence between heads of research at respectively The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation and the Aarhus School of Architecture. The correspondence discuss how to implement artistic research....
Byron Breedlove reads his essay Musings on Sketches, Artists, and Mosquito Nets about the art of James Whistler and the transmission of vector borne diseases. Created: 9/23/2014 by National Center for Emerging and Zoonotic Infectious Diseases (NCEZID). Date Released: 10/20/2014.
Fogarty, Jennifer A.; Polk, J. D.; Tarver, W.; Gibson, C. R.; Sargsyan, A.; Taddeo, T.; Alexander, D.; Otto, C.
What is the risk? Given that astronauts exposed to microgravity experience a cephalad fluid shift, and that both symptomatic and asymptomatic astronauts have exhibited optic nerve sheath edema on MRI, there is a high probability that all astronauts have some degree of increased intracranial pressure (ICP; intracranial hypertension), and that those susceptible (via eye architecture, anatomy, narrow optic disc) have a high likelihood of developing papilledema (optic disc edema, globe flattening), choroidal folds, and/or hyperopic shifts and that the degree of edema may determine long-term or permanent vision impairment or loss. Back to back panels on this topic have been developed to address this emerging risk. The first panel will focus on the 6 clinical cases with emphasis on ophthalmic findings and imaging techniques used pre-, in-, and post-flight. The second panel will discuss the operational mitigation and medical requirements, the potential role of CO2 on ISS, and the research approach being developed. In total these back to back panels will explore what is known about this risk, what has been done immediately to address it, and how an integrated research model is being developed.
CERN. Geneva; Koek, Ariane; Heuer, Rolf; Ikeda, Ryoji; Mr. Horst, Hoertner
at the CERN Globe of Science and Innovation, CERN. You are very warmly invited to the opening presentation of Data Artist, Ryoji Ikeda’s residency at CERN. Ryoji Ikeda, one of the world’s leading electronic composers and visual artists, is the new Prix Ars Electronica Collide@CERN award winner. Ryoji Ikeda and his science inspiration partner, Theoretical Physicist, Dr. Tom Melia will talk about their work in arts and science. They are at the beginning of their creative journey together at CERN. A little about Ryoji Ikeda – the new Prix Ars Electronica Collide@CERN artist in residence. Ryoji Ikeda focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual ...
In view of 50th anniversary of CERN, about 20 young artists will be visiting CERN from 26 to 31 January to learn about the laboratory's research and the mysterious world of particle physics. The impressions they take home will be the main inspiration for the artwork they will then produce for an exhibition to be inaugurated in October 2004 as part of CERN's 50th anniversary celebration. We are looking for scientists who are interested in the Art-Science synergy and who can volunteer to discuss their work at CERN to these young artists during this week (25-31/01). Please contact email@example.com if you are interested. The project is called Young Artists@ CERN and for more information look at this website: http://www.hep.ucl.ac.uk/~andy/CERNart/
Full Text Available In 2008, Lesley University Professors Geoffrey Koetsch and Ellen Schön conducted an informal survey of New England artists to ascertain the degree to which recent work in neuroscience had impacted the visual arts. The two curators mounted an exhibition (MINDmatters May-June, 2008 at the Laconia Gallery in Boston in which they showcased the work of artists who had chosen mental processes as their primary subject. These artists were reacting to the new vision of the mind revealed by science; their inquiry was subjective, sensory, and existential, not empirical. They approached consciousness from several vantage points. Some of the artists had had personal experience with pathologies of the brain such as dementia or cancer and were puzzling out the phenomenon consuming the mind of a loved one. They looked to neuroscience for clarity and understanding. Some artists were personally involved with new techniques of cognitive psychotherapy. Others were inspired by the sheer physical beauty of the brain as revealed by new imaging technologies. Two of the artists explored the links between meditation, mindfulness practice and neuroscience. Issues such as the boundary and binding problems were approached, as well as the challenge of creating visual metaphors for neural processes. One artist visualized the increasing transparency of the body as researchers introduce more and more invasive technologies.
In 2008, Lesley University Professors Geoffrey Koetsch and Ellen Schön conducted an informal survey of New England artists to ascertain the degree to which recent work in neuroscience had impacted the visual arts. The two curators mounted an exhibition (MINDmatters May-June, 2008) at the Laconia Gallery in Boston in which they showcased the work of artists who had chosen mental processes as their primary subject. These artists were reacting to the new vision of the mind revealed by science; their inquiry was subjective, sensory, and existential, not empirical. They approached consciousness from several vantage points. Some of the artists had had personal experience with pathologies of the brain such as dementia or cancer and were puzzling out the phenomenon consuming the mind of a loved one. They looked to neuroscience for clarity and understanding. Some artists were personally involved with new techniques of cognitive psychotherapy. Others were inspired by the sheer physical beauty of the brain as revealed by new imaging technologies. Two of the artists explored the links between meditation, mindfulness practice and neuroscience. Issues such as the "boundary" and "binding" problems were approached, as well as the challenge of creating visual metaphors for neural processes. One artist visualized the increasing transparency of the body as researchers introduce more and more invasive technologies.
Antunes, Rui Filipe; Leymarie, Frederic Fol; Latham, William
We study the use of the generative systems known as computational ecosystems to convey artistic and narrative aims. These are virtual worlds running on computers, composed of agents that trade units of energy and emulate cycles of life and behaviors adapted from biological life forms. In this article we propose a conceptual framework in order to understand these systems, which are involved in processes of authorship and interpretation that this investigation analyzes in order to identify critical instruments for artistic exploration. We formulate a model of narrative that we call system stories (after Mitchell Whitelaw), characterized by the dynamic network of material and conceptual processes that define these artefacts. They account for narrative constellations with multiple agencies from which meaning and messages emerge. Finally, we present three case studies to explore the potential of this model within an artistic and generative domain, arguing that this understanding expands and enriches the palette of the language of these systems.
Miller, Zachary A; Miller, Bruce L
Artistic ability and creativity are defining characteristics of human behavior. Behavioral neurology, as a specialty, believes that even the most complex behaviors can be modeled and understood as the summation of smaller cognitive functions. Literature from individuals with specific brain lesions has helped to map out these smaller regions of cognitive abilities. More recently, models based on neurodegenerative conditions, especially from the frontotemporal dementias, have allowed for greater nuanced investigations into the various functional anatomies necessary for artistic behavior and possibly the underlying networks that promote creativity. © 2013 Elsevier B.V. All rights reserved.
Day, Janice Neibaur; McDonnell, Andrea P.; Heathfield, Lora Tuesday
Emergent literacy can be viewed as skills that are precursors to later reading and writing (Sulzby & Teale, 1991) or can be more broadly conceptualized as literacy acquisition that occurs along a developmental continuum. Because children with disabilities, such as visual impairments, can be at risk for later reading difficulties, it is critical…
Brennan, Susan A.; Luze, Gayle J.; Peterson, Carla
This survey explored the emergent literacy experiences that parents provided for their children with visual impairments, aged 1-8, as well as the parents' perceptions of the professional support that they received to facilitate these activities. The results indicated that the parents and children engaged in reading, singing songs, and writing or…
Despite the prominent loss of motor skills, artistic capacities remain preserved in Parkinson's disease (PD). Furthermore, artistic creativity may emerge in art-naïve PD patients treated with levodopa and dopamine agonists. The present review discusses reported PD patients who developed enhanced artistic skills under anti-Parkinsonian therapy and the course of this phenomenon in the clinical context. It is unclear whether creative drive is related to dopamine dysregulation, and the mechanisms remain speculative. The delineation of the particular constellation that enables this emergence in PD patients may shed light on the comprehension of the concept of creativity in general.
Full Text Available This article explores the two series of visits to the artist's studio that appeared in the famed French illustrated magazine L'Illustration in the 1850s and in 1886. An in-depth examination of both the texts and images reveals the verbal and visual tropes used to characterize the artists and their spaces, linking these to broader notions of "the artist" – his moral characteristics, behaviors, and artistic practice – as well as to the politics of the art world and the (bourgeois ideology of L'Illustration. The aim is to uncover not only the language but also the mechanics of the "mediatization" of the image of the artist in this crucial period.
This paper discusses the nature and function of children's literature and theater. Artistic creative work for children is constituted not only by literature but also by the theater, film, radio and television. Children's literature used to be an art of narration, a verbal text coupled with gesture. Modern, highly technical communication media have…
Issues and recent events concerning censorship of the arts in the United States are examined, and the threat to artistic freedom posed by recent Supreme Court decisions is examined. Focus is on erosion of the actual or imminent harm requirement of the law and on the court's class-based approach to free speech. (MSE)
Chai, David; Garcia, Alejandro L.
Animation has become enormously popular in feature films, television, and video games. Art departments and film schools at universities as well as animation programs at high schools have expanded in recent years to meet the growing demands for animation artists. Professional animators identify the technological facet as the most rapidly advancing…
Cecile Massart is a visual artist who lives and works in Brussels, Belgium. Her teaching career includes Academy of Ixelles, Ecole Superieure des Arts Plastiques et Visuels in Mons, and Ecole Nationale Superieure des Arts Visuels La Cambre in Brussels. Cecile Massart has presented her extensive artistic research at numerous international conferences. Her works are featured in private and public collections. Since 1994, Cecile Massart has been investigating international sites for radioactive waste storage, exploring how this 21. century archaeological stratum is being inscribed in the landscape. Researching radioactive waste sites around the world for over 20 years, her main focus has become their identification in the landscape. Her ideas are communicated through her visual research and writings that aim to raise the awareness of radioactive disposal sites and to study their life within their surroundings for future generations. Her drawings, films, books and exhibitions investigate a new kind of architecture of the sites that become research platforms. Her first graphic research, edited under the title Un site archive pour Alpha, Beta, Gamma, helps in revealing their true nature. Her photographs, silk-screen prints, installations and pictures testify to the need to preserve the memory and knowledge of such sites across generations ensuring the safety of the living world. With this objective in mind, to build a memory, she has developed an architectural vocabulary functioning as warning sculptures to identify the nuclear repositories in the landscape: markers or archi-sculptures. In the following sections, Cecile Massart describes her work in her own words. For more details on her work, see www.cecilemassart.com
Ørum, Tania; Hvis Kromann, Thomas
Introduction and presentation of the many artist's books made by the Danish artist Stig Brøgger......Introduction and presentation of the many artist's books made by the Danish artist Stig Brøgger...
Carmen - Gabriela BOSTAN
This research proposes to study concepts and practices aimed at school that have to support arts education as part of the key competence cultural awareness and expression. When we talk about this, we refer to the creative expression of ideas, experiences and emotions through a wide range of artistic means, among which we can mention music, performing arts, literature, visual arts, theatre, oratory, dance, painting, crafts, design and so on. The target group consists of parents of students in ...
Challinor, Kirsten L; Mond, Jonathan; Stephen, Ian D; Mitchison, Deborah; Stevenson, Richard J; Hay, Phillipa; Brooks, Kevin R
Although body size and shape misperception (BSSM) is a common feature of anorexia nervosa, bulimia nervosa and muscle dysmorphia, little is known about its underlying neural mechanisms. Recently, a new approach has emerged, based on the long-established non-invasive technique of perceptual adaptation, which allows for inferences about the structure of the neural apparatus responsible for alterations in visual appearance. Here, we describe several recent experimental examples of BSSM, wherein exposure to "extreme" body stimuli causes visual aftereffects of biased perception. The implications of these studies for our understanding of the neural and cognitive representation of human bodies, along with their implications for clinical practice are discussed.
Kiefer, Markus; Kammer, Thomas
One aspect of consciousness phenomena, the temporal emergence of visual awareness, has been subject of a controversial debate. How can visual awareness, that is the experiential quality of visual stimuli, be characterized best? Is there a sharp discontinuous or dichotomous transition between unaware and fully aware states, or does awareness emerge gradually encompassing intermediate states? Previous studies yielded conflicting results and supported both dichotomous and gradual views. It is well conceivable that these conflicting results are more than noise, but reflect the dynamic nature of the temporal emergence of visual awareness. Using a psychophysical approach, the present research tested whether the emergence of visual awareness is context-dependent with a temporal two-alternative forced choice task. During backward masking of word targets, it was assessed whether the relative temporal sequence of stimulus thresholds is modulated by the task (stimulus presence, letter case, lexical decision, and semantic category) and by mask type. Four masks with different similarity to the target features were created. Psychophysical functions were then fitted to the accuracy data in the different task conditions as a function of the stimulus mask SOA in order to determine the inflection point (conscious threshold of each feature) and slope of the psychophysical function (transition from unaware to aware within each feature). Depending on feature-mask similarity, thresholds in the different tasks were highly dispersed suggesting a graded transition from unawareness to awareness or had less differentiated thresholds indicating that clusters of features probed by the tasks quite simultaneously contribute to the percept. The latter observation, although not compatible with the notion of a sharp all-or-none transition between unaware and aware states, suggests a less gradual or more discontinuous emergence of awareness. Analyses of slopes of the fitted psychophysical functions
Greenfield, Gary; Machado, Penousal
Ant- and ant-colony-inspired ALife art is characterized by the artistic exploration of the emerging collective behavior of computational agents, developed using ants as a metaphor. We present a chronology that documents the emergence and history of such visual art, contextualize ant- and ant-colony-inspired art within generative art practices, and consider how it relates to other ALife art. We survey many of the algorithms that artists have used in this genre, address some of their aims, and explore the relationships between ant- and ant-colony-inspired art and research on ant and ant colony behavior.
Gordon H Chang
Full Text Available Asian American Art: A History, 1850-1970, the book from which this foreword is excerpted, is the first comprehensive study of the lives and artistic production of artists of Asian ancestry active in the United States before 1970. The publication features original essays by ten leading scholars, biographies of more than 150 artists, and over 400 reproductions of artwork, ephemera, and images of the artists. Aside from a few artists such as Dong Kingman, Yasuo Kuniyoshi, Isamu Noguchi, and Yun Gee, artists of Asian ancestry have received inadequate historical attention, even though many of them received wide critical acclaim during their productive years. This pioneering work recovers the extraordinarily impressive artistic production of numerous Asian Americans, and offers richly informed interpretations of a long-neglected art history. To unravel the complexity of Asian American art expression and its vital place in American art, the texts consider aesthetics, the social structures of art production and criticism, and national and international historical contexts. Without a doubt, Asian American Art will profoundly influence our understanding of the history of art in America and the Asian American experience for years to come. Chang, Gordon H., Mark Johnson, and Paul Karlstrom, eds. Asian American Art: A History, 1850-1970. Stanford, Calif.: Stanford University Press, 2008. Reprinted with the permission of Stanford University Press. http://www.sup.org
Gordon H Chang
Full Text Available
Asian American Art: A History, 1850-1970, the book from which this foreword is excerpted, is the first comprehensive study of the lives and artistic production of artists of Asian ancestry active in the United States before 1970. The publication features original essays by ten leading scholars, biographies of more than 150 artists, and over 400 reproductions of artwork, ephemera, and images of the artists. Aside from a few artists such as Dong Kingman, Yasuo Kuniyoshi, Isamu Noguchi, and Yun Gee, artists of Asian ancestry have received inadequate historical attention, even though many of them received wide critical acclaim during their productive years. This pioneering work recovers the extraordinarily impressive artistic production of numerous Asian Americans, and offers richly informed interpretations of a long-neglected art history. To unravel the complexity of Asian American art expression and its vital place in American art, the texts consider aesthetics, the social structures of art production and criticism, and national and international historical contexts. Without a doubt, Asian American Art will profoundly influence our understanding of the history of art in America and the Asian American experience for years to come. Chang, Gordon H., Mark Johnson, and Paul Karlstrom, eds. Asian American Art: A History, 1850-1970. Stanford, Calif.: Stanford University Press, 2008. Reprinted with the permission of Stanford University Press. http://www.sup.org
An artist active drawing and waterpainting, most prominent in sculpture, suffered an apopleptic insult at 66 years of age. Right hemiparesis and severe motor aphasia remained but this with rare unexpected and sometimes rather complicated productions in spoken, and also in written language in spite of modest progress in writing exercise. His behaviour witnessed of the memory of remote and complicated stored material. Some months after the insult he resumed his artistic activity using his left hand and continued it principally in the same manner as before his illness. His drawing and water-painting displayed some uncertainty of lines and sometimes coarseness of the stain spots. His pieces of sculpture regained the quality of his earlier works, as proven already by the first statue he made after the insult. While it is generally accepted that the motor aphasia does not essentially affect the artistic production, even of high quality, in painting, this is the first instance which proves that the same holds true for sculpture. In this case the mechanisms inciting the finest innervation on the side of the cortical center of the left hand, can work with promptness. In motor aphasia the mechanisms indispensable for the correct realisation of the function are affected without a final extinction of the function itself. Motor asphasia is an instrumental disorder not necessarily accompanied by disturbances of the intelligence.
Lu, Wei [ORNL; Liu, Cheng [ORNL; Thomas, Neil [ORNL; Bhaduri, Budhendra L [ORNL; Han, Lee [University of Tennessee, Knoxville (UTK)
Simulation-based studies are frequently used for evacuation planning and decision making processes. Given the transportation systems complexity and data availability, most evacuation simulation models focus on certain geographic areas. With routine improvement of OpenStreetMap road networks and LandScanTM global population distribution data, we present WWEE, a uniform system for world-wide emergency evacuation simulations. WWEE uses unified data structure for simulation inputs. It also integrates a super-node trip distribution model as the default simulation parameter to improve the system computational performance. Two levels of visualization tools are implemented for evacuation performance analysis, including link-based macroscopic visualization and vehicle-based microscopic visualization. For left-hand and right-hand traffic patterns in different countries, the authors propose a mirror technique to experiment with both scenarios without significantly changing traffic simulation models. Ten cities in US, Europe, Middle East, and Asia are modeled for demonstration. With default traffic simulation models for fast and easy-to-use evacuation estimation and visualization, WWEE also retains the capability of interactive operation for users to adopt customized traffic simulation models. For the first time, WWEE provides a unified platform for global evacuation researchers to estimate and visualize their strategies performance of transportation systems under evacuation scenarios.
Elsabbagh, Mayada; Fernandes, Janice; Jane Webb, Sara; Dawson, Geraldine; Charman, Tony; Johnson, Mark H.
Background Early emerging characteristics of visual orienting have been associated with a wide range of typical and atypical developmental outcomes. In the current study, we examined the development of visual disengagement in infants at risk for autism. Methods We measured the efficiency of disengaging from a central visual stimulus to orient to a peripheral one in a cohort of 104 infants with and without familial risk for autism by virtue of having an older sibling with autism. Results At 7 months of age, disengagement was not robustly associated with later diagnostic outcomes. However, by 14 months, longer latencies to disengage in the subset of the risk group later diagnosed with autism was observed relative to other infants at risk and the low-risk control group. Moreover, between 7 months and 14 months, infants who were later diagnosed with autism at 36 months showed no consistent increases in the speed and flexibility of visual orienting. However, the latter developmental effect also characterized those infants who exhibited some form of developmental concerns (but not meeting criteria for autism) at 36 months. Conclusions Infants who develop autism or other developmental concerns show atypicality in the development of visual attention skills from the first year of life. PMID:23374640
Full Text Available Eyes are the windows to the soul. In all ages we are convinced that the most authentic and beautiful sights are in our eyes. This, however, is just like an indiscernible legal provision that confines the development of art all the time. Artistic vision may conflict with visual impression, so vision science for artistic creation is of the myriads of changes. Vision is in fact a reflection of a physical phenomenon, and “light” is the base for us to see the diverse world. Exploring vision theories and intentionally using them in artistic creation can be a good attempt. Vision advantages and characteristics will be effectively reflected when applying the vision theories to graphic design as well as to indoor and outdoor designs. This article will make an exploration of the vision science from several perspectives of artistic creation, with focusing on the relation between art and science.
De Backer, Free; Lombaerts, Koen; De Mette, Tom; Buffel, Tine; Elias, Willem
Despite a more prominent role of arts education in the school curriculum, artistic creativity does not occur to a great extent in primary school practice. More opportunities for teachers to strengthen their know-how in the field of artistic creativity can therefore be considered important. Arts education projects focus on pupils' development of…
Full Text Available This study envisages the analysis of the specific aspects of the selection process in artistic gymnastics, focusing particularly onthe selection of Romania’s recent years. In our opinion, the shift to a cone of darkness of the artistic gymnastics, an extremelypopular sport in our country 20 years ago, is also based on and the orientation of children to other fields – unfortunately manyof them outside sports and physical activities in general. In the present study, we shall present the stages of the artisticgymnastics, as its importance in the subsequent performances has been proven a long time ago. The plethora of qualities andskills which are necessary to select a child for gymnastics and those that this sport develops when performed as a spare timeactivity. The case studied in this endeavour is the one of the main centers for gymnast recruitment in Romania; the attentionpaid by the trainers to the selection for this sport makes the data regarding the number of children involved to increase oncemore. This is a satisfactory fact as it is a well-known fact that a wide range primary selection sets a serious basis for thesecondary selection, and the third, respectively, envisaging the future performance and concurrently ensures the involvementof more children in a physical activity that will prepare them, both physically and mentally for a healthy life.
Mell, Joshua Chang; Howard, Sara M; Miller, Bruce L
A talented artist developed a progressive aphasia syndrome associated with frontotemporal dementia (FTD). As her disease progressed, language and executive skills declined, but her paintings became freer and more original. She demonstrates that artistic development can occur in the setting of language-dominant types of FTD. The study of artistic development in the setting of FTD suggests that language is not required for, and may even inhibit, certain types of visual creativity.
Persson, Johanna; Dalholm, Elisabeth Hornyánszky; Johansson, Gerd
To demonstrate the use of visualization and simulation tools in order to involve stakeholders and inform the process in hospital change processes, illustrated by an empirical study from a children's emergency clinic. Reorganization and redevelopment of a hospital is a complex activity that involves many stakeholders and demands. Visualization and simulation tools have proven useful for involving practitioners and eliciting relevant knowledge. More knowledge is desired about how these tools can be implemented in practice for hospital planning processes. A participatory planning process including practitioners and researchers was executed over a 3-year period to evaluate a combination of visualization and simulation tools to involve stakeholders in the planning process and to elicit knowledge about needs and requirements. The initial clinic proposal from the architect was discarded as a result of the empirical study. Much general knowledge about the needs of the organization was extracted by means of the adopted tools. Some of the tools proved to be more accessible than others for the practitioners participating in the study. The combination of tools added value to the process by presenting information in alternative ways and eliciting questions from different angles. Visualization and simulation tools inform a planning process (or other types of change processes) by providing the means to see beyond present demands and current work structures. Long-term involvement in combination with accessible tools is central for creating a participatory setting where the practitioners' knowledge guides the process. © 2014 Vendome Group, LLC.
Ritchie, J. Brendan; Tovar, David A.; Carlson, Thomas A.
Recognizing an object takes just a fraction of a second, less than the blink of an eye. Applying multivariate pattern analysis, or “brain decoding”, methods to magnetoencephalography (MEG) data has allowed researchers to characterize, in high temporal resolution, the emerging representation of object categories that underlie our capacity for rapid recognition. Shortly after stimulus onset, object exemplars cluster by category in a high-dimensional activation space in the brain. In this emerging activation space, the decodability of exemplar category varies over time, reflecting the brain’s transformation of visual inputs into coherent category representations. How do these emerging representations relate to categorization behavior? Recently it has been proposed that the distance of an exemplar representation from a categorical boundary in an activation space is critical for perceptual decision-making, and that reaction times should therefore correlate with distance from the boundary. The predictions of this distance hypothesis have been born out in human inferior temporal cortex (IT), an area of the brain crucial for the representation of object categories. When viewed in the context of a time varying neural signal, the optimal time to “read out” category information is when category representations in the brain are most decodable. Here, we show that the distance from a decision boundary through activation space, as measured using MEG decoding methods, correlates with reaction times for visual categorization during the period of peak decodability. Our results suggest that the brain begins to read out information about exemplar category at the optimal time for use in choice behaviour, and support the hypothesis that the structure of the representation for objects in the visual system is partially constitutive of the decision process in recognition. PMID:26107634
Hertzum, Morten; Simonsen, Jesper
and with the coordinating nurse, who is the main keeper of the whiteboard. On the basis of observations, we find that coordination is accomplished through a highly intertwined process of technologically mediated visual overview combined with orally communicated details. The oral details serve to clarify and elaborate......Whiteboards facilitate coordinative practices by making information publicly accessible and thereby strengthening communication and joint commitment about it. This study investigates how coordination is accomplished in an emergency department through interactions with the whiteboard...... instrumental and communicative coordination are central to the coordinative function of the whiteboard. We discuss this and other implications for design....
S. S. Aleksanin
Full Text Available In terms of ship simulator automated control systems we have investigated the information content of physiological monitoring cardiac rhythm to assess the reliability and noise immunity of operators of various specializations with audio-visual simulation of an emergency. In parallel, studied the effectiveness of protection against the adverse effects of electromagnetic fields. Monitoring of cardiac rhythm in a virtual crash it is possible to differentiate the degree of voltage regulation systems of body functions of operators on specialization and note the positive effect of the use of means of protection from exposure of electromagnetic fields.
As teaching artists enter the field of arts education, they are faced with the challenge of distinguishing themselves in the job search--developing a digital presence is one great way to stand out. After conducting thorough research into their local markets, teaching artists can set long-term career goals while honing online content for a…
Our solitary sunsets here on Earth might not be all that common in the grand scheme of things. New observations from NASA's Spitzer Space Telescope have revealed that mature planetary systems -- dusty disks of asteroids, comets and possibly planets -- are more frequent around close-knit twin, or binary, stars than single stars like our sun. That means sunsets like the one portrayed in this artist's photo concept, and more famously in the movie 'Star Wars,' might be quite commonplace in the universe. Binary and multiple-star systems are about twice as abundant as single-star systems in our galaxy, and, in theory, other galaxies. In a typical binary system, two stars of roughly similar masses twirl around each other like pair-figure skaters. In some systems, the two stars are very far apart and barely interact with each other. In other cases, the stellar twins are intricately linked, whipping around each other quickly due to the force of gravity. Astronomers have discovered dozens of planets that orbit around a single member of a very wide stellar duo. Sunsets from these worlds would look like our own, and the second sun would just look like a bright star in the night sky. But do planets exist in the tighter systems, where two suns would dip below a planet's horizon one by one? Unveiling planets in these systems is tricky, so astronomers used Spitzer to look for disks of swirling planetary debris instead. These disks are made of asteroids, comets and possibly planets. The rocky material in them bangs together and kicks up dust that Spitzer's infrared eyes can see. Our own solar system is swaddled in a similar type of disk. Surprisingly, Spitzer found more debris disks around the tightest binaries it studied (about 20 stars) than in a comparable sample of single stars. About 60 percent of the tight binaries had disks, while the single stars only had about 20 percent. These snug binary systems are as close or closer than just three times the distance between Earth and
Majority of the university graduates in Nigeria lack adequate knowledge of entrepreneurship. As a result those not gifted to pursue interests in the academia may not fare well in the labour market. Few others end up as petty workers to Media or Textile industries without a bright future. This paper examines the knowledge ...
AFRREV IJAH: An International Journal of Arts and Humanities ... violence, genocide, wars etc. threatening human's corporate existence, not only in ... one of the most effective forms of human communication, it has not been intensively utilized ...
Full Text Available While there is a long well-documented tradition of poets walking and writing about the landscape, for at least the past fifty years visual artists have been laying out walks as various kinds of artwork. More recently, with the technology of mapping morphing into electronic devices, artists have begun using these tools to develop entirely new genres.
Gibson, John R.; Murray, John P.
This study examined how Texas community college artist-educators balance artistic productivity with their teaching responsibilities. The 98 survey respondents represented 76.6% of a stratified random sample of the full-time instructors in visual arts departments within the 50 Texas public community college districts. Access to studio space and…
Soares, Ana Paula; Perea, Manuel; Comesaña, Montserrat
Recent research with skilled adult readers has consistently revealed an advantage of consonants over vowels in visual-word recognition (i.e., the so-called "consonant bias"). Nevertheless, little is known about how early in development the consonant bias emerges. This work aims to address this issue by studying the relative contribution of consonants and vowels at the early stages of visual-word recognition in developing readers (2(nd) and 4(th) Grade children) and skilled adult readers (college students) using a masked priming lexical decision task. Target words starting either with a consonant or a vowel were preceded by a briefly presented masked prime (50 ms) that could be the same as the target (e.g., pirata-PIRATA [pirate-PIRATE]), a consonant-preserving prime (e.g., pureto-PIRATA), a vowel-preserving prime (e.g., gicala-PIRATA), or an unrelated prime (e.g., bocelo -PIRATA). Results revealed significant priming effects for the identity and consonant-preserving conditions in adult readers and 4(th) Grade children, whereas 2(nd) graders only showed priming for the identity condition. In adult readers, the advantage of consonants was observed both for words starting with a consonant or a vowel, while in 4(th) graders this advantage was restricted to words with an initial consonant. Thus, the present findings suggest that a Consonant/Vowel skeleton should be included in future (developmental) models of visual-word recognition and reading.
It is the intention of the writer to examine its development from the modest beginning to its robust formalistic model of artistic expression. Through interviews with exponents and review of a number of literatures, it was found out that the Ona movement has to a large extent facilitated the crystallization of Nigerian visual art.
Lutz, Aline; Nassehi, Armin; Bao, Yan; Pöppel, Ernst; Sztrókay, Anikó; Reiser, Maximilian; Fehse, Kai; Gutyrchik, Evgeny
Visual art because of its artistic context can be related to the general idea of providing alternative perceptual experiences. However, research examining the neural basis of art beyond the paradigm of beauty has been neglected. This study seeks to determine how the perception of a body in an artwork can be distinguished from the perception of a body in a non-artistic photography. While viewing different body representations in both artworks and photographs, subjects were required to evaluate the appeal of the portrayed persons. By using functional magnetic resonance imaging (fMRI) we show that the perception of a body within the context of art leads to a higher activation in the right parietal cortex and the extrastriate cortex bilaterally. Relating this result to concepts from previous research, we suggest that the perception of art is linked to visuo-spatial coding and also motor mapping. In contrast, the higher activity in the ventromedial prefrontal cortex and the primary visual cortex during the perception of a body in a non-artistic frame of reference, i.e. in a photograph, can be linked to processes of person evaluation. Possibly, the task to judge the appeal of a person in a photograph might be more daunting and, thus, cause emotional and even moral challenges being reflected in the ventromedial prefrontal activity. Taken together, perceptual experiences within an artistic vs. a non-artistic frame of reference are based on distinct patterns of neuronal activity. Copyright © 2012 Elsevier Inc. All rights reserved.
Martín-Andrés, Cristina; Manriquez, Natalia Villalobos
This project was born with the intention of generating and recording the artistic expression of a group of inmates in module 6 of the Albolote (ES) penitentiary center through the creation of collaborative fanzines. A workshop was created, held once a week for 4 months. Through conceptual proposals and aesthetic tools, each participant in the…
Full Text Available The interwar period was ripe with political crises connected to the national question in the Kingdom of SHS and the Kingdom of Yugoslavia. The relationship between Yugoslav and Slovene identity again became central for the question of national emancipation within an increasing supranational conflict and became the focus of visual arts in the 1930s. After a decade marked by Expressionism and New Objectivity in the thirties, values of moderate modernism and the quest for national expression re-emerged. At the time a new group of artists emerged on the Slovene artistic scene. They were schooled in Zagreb, the cultural centre of the Kingdom of Yugoslavia, where intense polemics regarding national expression in art were taking place. This contribution outlines the search for “our expression” in art as understood by the central protagonists of the art scene in Croatia, Krsto Hegedušić and Ljubo Babić. The latter especially was of central importance to the formation of the young Slovene art, because he was a prolific writer and one of the most important professors at the Academy of Fine Arts in Zagreb. The former Slovenian students, who formed the Independent group of Slovenian artists (Klub neodvisnih slovenskih likovnih umetnikov emerged in the turbulent years before the outbreak of World War II. In art, so they claimed, they were seeking their own, Slovenian national visual expression. In this search they took inspiration from Croatian artists, whose ideas they adapted to the Slovenian situation. At the same time, they legitimised their efforts with references to Slovene impressionists, who were regarded as the founding fathers of Slovene national art. In this way the Independents (Neodvisni sought to highlight the continuity in their search for Slovene national expression in art despite the transformed historical context. They based their national expression in art on a modernist version of Slovene impressionism. They combined this with
Crowding is common in emergency departments (EDs) and increases the risk of medical errors, patient dissatisfaction, and clinician stress. The aim of this study is to investigate patterns in patient visits and bottlenecks in ED work in order to discuss the prospects of visualizing such patterns...... (mornings, boom days), patient throughput (staff work hours, linear workflows, manual data entry, overview of patient progress, personal competences), and patient output (no admissions at night, scheduling patient transfers, home transports). The patterns in patient arrivals and length of stay capture...... to help manage crowding. We analyze two years of data from a Danish ED for patterns in the patient visits and interview six clinicians from the ED about bottlenecks in their work. The hour of the day explains 50% of the variance in the number of patient arrivals. In addition, there are weekly and yearly...
Nanda, Upali; Chanaud, Cheryl; Nelson, Michael; Zhu, Xi; Bajema, Robyn; Jansen, Ben H
Wait times have been reported to be one of the most important concerns for people visiting emergency departments (EDs). Affective states significantly impact perception of wait time. There is substantial evidence that art depicting nature reduces stress levels and anxiety, thus potentially impacting the waiting experience. To analyze the effect of visual art depicting nature (still and video) on patients' and visitors' behavior in the ED. A pre-post research design was implemented using systematic behavioral observation of patients and visitors in the ED waiting rooms of two hospitals over a period of 4 months. Thirty hours of data were collected before and after new still and video art was installed at each site. Significant reduction in restlessness, noise level, and people staring at other people in the room was found at both sites. A significant decrease in the number of queries made at the front desk and a significant increase in social interaction were found at one of the sites. Visual art has positive effects on the ED waiting experience. Copyright © 2012 Elsevier Inc. All rights reserved.
Ding, R.; He, T.
With the increased popularity in mobile applications and services, there has been a growing demand for more advanced mobile technologies that utilize real-time Location Based Services (LBS) data to support natural hazard response efforts. Compared to traditional sources like the census bureau that often can only provide historical and static data, an LBS service can provide more current data to drive a real-time natural hazard response system to more accurately process and assess issues such as population density in areas impacted by a hazard. However, manually preparing or preprocessing the data to suit the needs of the particular application would be time-consuming. This research aims to implement a population heatmap visual analytics system based on real-time data for natural disaster emergency management. System comprised of a three-layered architecture, including data collection, data processing, and visual analysis layers. Real-time, location-based data meeting certain polymerization conditions are collected from multiple sources across the Internet, then processed and stored in a cloud-based data store. Parallel computing is utilized to provide fast and accurate access to the pre-processed population data based on criteria such as the disaster event and to generate a location-based population heatmap as well as other types of visual digital outputs using auxiliary analysis tools. At present, a prototype system, which geographically covers the entire region of China and combines population heat map based on data from the Earthquake Catalogs database has been developed. It Preliminary results indicate that the generation of dynamic population density heatmaps based on the prototype system has effectively supported rapid earthquake emergency rescue and evacuation efforts as well as helping responders and decision makers to evaluate and assess earthquake damage. Correlation analyses that were conducted revealed that the aggregation and movement of people
Wang, Hua-Chen; Savage, Greg; Gaskell, M Gareth; Paulin, Tamara; Robidoux, Serje; Castles, Anne
Lexical competition processes are widely viewed as the hallmark of visual word recognition, but little is known about the factors that promote their emergence. This study examined for the first time whether sleep may play a role in inducing these effects. A group of 27 participants learned novel written words, such as banara, at 8 am and were tested on their learning at 8 pm the same day (AM group), while 29 participants learned the words at 8 pm and were tested at 8 am the following day (PM group). Both groups were retested after 24 hours. Using a semantic categorization task, we showed that lexical competition effects, as indexed by slowed responses to existing neighbor words such as banana, emerged 12 h later in the PM group who had slept after learning but not in the AM group. After 24 h the competition effects were evident in both groups. These findings have important implications for theories of orthographic learning and broader neurobiological models of memory consolidation.
We introduce a new methodology for the problem of artistic image analysis, which among other tasks, involves the automatic identification of visual classes present in an art work. In this paper, we advocate the idea that artistic image analysis must explore a graph that captures the network of artistic influences by computing the similarities in terms of appearance and manual annotation. One of the novelties of our methodology is the proposed formulation that is a principled way of combining these two similarities in a single graph. Using this graph, we show that an efficient random walk algorithm based on an inverted label propagation formulation produces more accurate annotation and retrieval results compared with the following baseline algorithms: bag of visual words, label propagation, matrix completion, and structural learning. We also show that the proposed approach leads to a more efficient inference and training procedures. This experiment is run on a database containing 988 artistic images (with 49 visual classification problems divided into a multiclass problem with 27 classes and 48 binary problems), where we show the inference and training running times, and quantitative comparisons with respect to several retrieval and annotation performance measures.
Mariana Resende Côrrea
Full Text Available Art as process and reflection of the lived moment deals many times with issues that refers to its context and with the available materials in the current scenario. In a society marked by consumption and ephemerality, this article promotes a reflection on the use of disposed and collected products in works of visual artists. The bricoleur appears in this context as a central figure for the understanding and the analysis of some of the many artistic practices realized recently. By bricolage, artists like Joseph Cornell, Farnese de Andrade, Amanda Mei and Courtney Smith performed works with hybrid content that reflect the lived moment and issues contained in the materials available in the current scenario.
Janzen, Katherine J.; Perry, Beth; Edwards, Margaret
Using the analogy of children's building blocks, the reader is guided through the results of a research study that explored the use of three Artistic Pedagogical Technologies (APTs). "Building blocks" was the major theme that emerged from the data. Sub-themes included developing community, enhancing creativity, and risk taking. The…
Since 1994, the French National Agency for Radioactive Waste Management (Andra) has been pursuing a study of collective memory, based on its experience with the Manche disposal facility. In 2010 - in response to the project Centre industriel de stockage geologique (Cigeo), its concomitant need to preserve collective memory of the site for at least 500 years, and public demand - Andra launched an initiative to ensure that future generations do not forget about the existence of radioactive waste disposal facilities. Pursuing its investigations in this area, Andra has led theoretical enquiries that consider art as a possible vehicle of collective memory. Memory is often found between parentheses that do not overload the spirit but enclose it in rules that facilitate forgetting... which is a vanity of the present moment. The past must always have the role of providing future ferment. And then the transfer occurs that can open up to history. Born in 1938, Gerard Larguier began working in 1956 with the renowned poster artist Paul Colin of Nancy before going on to study at the Beaux-Arts in Paris and Academie Julian. He has worked at his studio in the Bateau Lavoir in Paris since 1979 as well as Bonnet's former presbytery in the Meuse since 1973. Using both materials and relief, he has exhibited his artwork at leading institutions around the world. Since 1998, he has taken up the theme of memory in his works 'Chronique du XXeme siecle', 'Autodafes et palimpsestes' and his series 'A saute-souvenances'. He has also tackled the evolution of artwork over the centuries in a series of fifty works entitled 'Les chefs-d'oeuvre revisites'. In 2008, Gerard Larguier completed a fresco commissioned by Andra on the local heritage and environment of the Bure Laboratory. In 2010, the municipality of Soulaines d'Huys commissioned a fresco of the history of the town from the sixteenth century to the present using the archives of
Martin, Anne B; von der Heydt, Rüdiger
Neurons at early stages of the visual cortex signal elemental features, such as pieces of contour, but how these signals are organized into perceptual objects is unclear. Theories have proposed that spiking synchrony between these neurons encodes how features are grouped (binding-by-synchrony), but recent studies did not find the predicted increase in synchrony with binding. Here we propose that features are grouped to "proto-objects" by intrinsic feedback circuits that enhance the responses of the participating feature neurons. This hypothesis predicts synchrony exclusively between feature neurons that receive feedback from the same grouping circuit. We recorded from neurons in macaque visual cortex and used border-ownership selectivity, an intrinsic property of the neurons, to infer whether or not two neurons are part of the same grouping circuit. We found that binding produced synchrony between same-circuit neurons, but not between other pairs of neurons, as predicted by the grouping hypothesis. In a selective attention task, synchrony emerged with ignored as well as attended objects, and higher synchrony was associated with faster behavioral responses, as would be expected from early grouping mechanisms that provide the structure for object-based processing. Thus, synchrony could be produced by automatic activation of intrinsic grouping circuits. However, the binding-related elevation of synchrony was weak compared with its random fluctuations, arguing against synchrony as a code for binding. In contrast, feedback grouping circuits encode binding by modulating the response strength of related feature neurons. Thus, our results suggest a novel coding mechanism that might underlie the proto-objects of perception. Copyright © 2015 the authors 0270-6474/15/356860-11$15.00/0.
Celenza, Antonio; Rogers, Ian R
The present study compares visual analogue scale (VAS) to Likert-type scale (LTS) instruments in evaluating perceptions of an ED bedside clinical teaching programme. A prospective study was conducted in the ED of an urban, adult tertiary hospital. Prospective pairing occurred of a teaching consultant and registrar who were relatively quarantined from normal clinical duties. Registrars received 3 months of the teaching intervention, and 3 months without the intervention in a cross-over fashion. Evaluation questionnaires were completed using both the LTS and 100 mm horizontal VAS for each question. Correlation between VAS and LTS gave a measure of validity, and test-retest stability and internal consistency gave measures of reliability. Registrar perceptions of the teaching programme were positive, but no differences were found between the pre- and post-intervention groups. The test-retest reliabilities (intraclass correlation coefficient) for the questionnaires were 0.51 and 0.54 for the VAS, and 0.58 and 0.58 for the LTS. Cronbach's alpha varied between 0.79 and 0.91 for the VAS, and 0.79 and 0.81 for the LTS. Correlations between the two methods varied from 0.35 to 0.94 for each question. A linear regression equation describing the relationship approximated VAS = 19.5 × LTS-9 with overall r= 0.89. An ED bedside teaching programme is perceived to be a beneficial educational intervention. The VAS is a reliable and valid alternative to the LTS for educational evaluation and might provide advantages in educational measurement. Further research into the significance of extreme values and educationally important changes in scores is required. © 2011 The Authors. EMA © 2011 Australasian College for Emergency Medicine and Australasian Society for Emergency Medicine.
Chapter 1 deals with the artistic critique of the 1960s in the Netherlands. It demonstrates that the processes of Boltanski and Chiapello’s theory of The New Spirit of Capitalism in France also apply to the Netherlands. I’ll describe the influence of the Experimental Group in Holland and the Dutch
Burnham, Denis; Dodd, Barbara
The McGurk effect, in which auditory [ba] dubbed onto [ga] lip movements is perceived as "da" or "tha," was employed in a real-time task to investigate auditory-visual speech perception in prelingual infants. Experiments 1A and 1B established the validity of real-time dubbing for producing the effect. In Experiment 2, 4 1/2-month-olds were tested in a habituation-test paradigm, in which an auditory-visual stimulus was presented contingent upon visual fixation of a live face. The experimental group was habituated to a McGurk stimulus (auditory [ba] visual [ga]), and the control group to matching auditory-visual [ba]. Each group was then presented with three auditory-only test trials, [ba], [da], and [(delta)a] (as in then). Visual-fixation durations in test trials showed that the experimental group treated the emergent percept in the McGurk effect, [da] or [(delta)a], as familiar (even though they had not heard these sounds previously) and [ba] as novel. For control group infants [da] and [(delta)a] were no more familiar than [ba]. These results are consistent with infants' perception of the McGurk effect, and support the conclusion that prelinguistic infants integrate auditory and visual speech information. Copyright 2004 Wiley Periodicals, Inc.
Chronicles the personal and professional life of Nike Twins Seven Seven (born 1951), a Nigerian batik artist, and her husband, Twins Seven Seven, a musician-artist, both of whom have received international acclaim. (BJV)
Jeremy Sutton is one of the world’s premier Painter artists (www.JeremySutton.com and www.PaintboxJ.com), and in this brand new edition of his best-selling Painter Creativity: Digital Artist’s Handbook, he shows you the methods and techniques he’s developed over the years to perfect his art and earn him the title of Corel Painter Master. This edition has been completely revamped to cover all of the new features in Corel Painter 11 and the Wacom Intuos4 pen-tablet, including: .. *The new Hard Media brushes .. *Complete visual summary of all brushes, new and old, in Painter 11 .. *Revised and up
Joy, Stephen P.
Innovation motivation is a social learning model of originality comprising two variables: the need to be different and innovation expectancy. This study examined their contribution to artistic creativity in a sample of undergraduates. Participants completed measures of both innovation motivation variables as well as intelligence, adjustment, and…
Whether masks are made from cardboard, papier-mache, metal, wood, leather, fabric, clay or any combination of these materials, they bring out the artist in people. Young children like to wear masks when they play to pretend they were another person or animal. Masks let them fantasize and be creative. The author's students made masks representing…
Daichendt, G. James
"Artist-Teacher" is a powerful and frequently used term in the fields of art, museum studies, art history, and art education. Art educators typically use the term to describe their dual practice or to emphasize the importance of art production in relation to their teaching. In this article, the author reviews historical uses of the term…
In this article, the author discusses the life and works of an Anishinaabe expressionist artist George Morrison. Morrison was an eminent expressionist painter with a singular romantic vision and an erudite sense of natural reason and liberty. He created an elusive shimmer of "endless space," the color and eternal motion of nature. The…
This study aims to analyse artistic understanding in primary and secondary education and the relationship between this understanding and motivational characteristics such as goal orientation, engagement in art activities and attitude to art education at school, which determine (according to prior research) learners' academic achievement, in…
Full Text Available Practising arts has been linked to lowering stress, anxiety and blood pressure. These mechanisms are all known to affect the ageing process. Therefore, we examine the relation between long-term involvement in arts and life expectancy at age 50 (LE50, in a cohort of 12,159 male acoustic, literary and visual artists, who were born between 1700 and 1899 in the Low Countries. We compared the life expectancy at age 50 of the various artists with the elite and middle class of that time. In the birth cohorts before 1850, acoustic (LE50:14.5-19.5 and literary artists (LE50:17.8-20.8 had a similar life expectancy at age 50 compared to the elite (LE50:18.0-19.0. Only visual artists (LE50:15.5-17.1 had a lower life expectancy at age 50 compared to the elite at that time. For the most recent birth cohorts from 1850 through 1899, the comparison between artists and the elite reversed and acoustic and literary artist had a lower life expectancy at age 50, while visual artists enjoyed a similar life expectancy at age 50. Although artists belonged to the middle socioeconomic class and lived predominantly in urban areas with poor living conditions, they had a life expectancy similar to the elite population. This is in line with observed favourable effects of practicing arts on health in the short-term. From our historical analysis, we hypothesize several mechanisms through which artistic creativity could influence the ageing process and life expectancy. These hypotheses, however, should be formally tested before any definite conclusions on effects of arts on ageing can be drawn.
While Tee Corinne has been widely recognized as a preeminent lesbian and feminist artist of the last forty years, little has been written about her as an artist or art historian in any substantial way. This article attempts to shed light on Corinne's investment in creating explicitly sexual lesbian visual art and art historical writings that put pressure on the categories of artist and art historian between the 1970s and early 2000s. Corinne's work manages to fulfill feminist ideals while also working outside of the norms set up in both the lesbian and mainstream realms of art and art history.
Full Text Available In Estonian art history, the beginning of the 20th century is the era of the birth of nationalist art. This is the time when the first artists to study abroad, the brothers Paul and Kristjan Raud, and Ants Laikmaa return home from their studies in Düsseldorf and Munich. In the homeland, these artists’ cultural and political spirit brought them into contact with the Young Estonians, one generation younger than they were, whose overall world-view and artistic views they came to shape. The program of the Young Estonians included the furthering of cultural life as a whole; therefore they participated enthusiastically in discussions about the visual arts, and ways in which to advance art in the homeland. Through the mediation of Ants Laikmaa, they made contact with Nikolai Triik, an artist of their own generation, who in turn engaged his former fellow students from the Stieglitz School of Applied Arts in St. Petersburg – Aleksander Tassa, Jaan Koort, and Konrad Mägi. The interests and travel destinations of writers and artists were similar: they found themselves drawn primarily to Scandinavia, then Paris. Young Estonia’s almanacs and magazines were illustrated and adorned by reproductions of these same artists’ works, and artists contributed their writings on art to the publication. Nikolai Triik was artistic editor for the Young Estonia magazine, thanks to his stronger ties with the homeland and his greater authority. In the years 1909 and 1914 Young Estonia organized art exhibits, in which several artists studying abroad found their first reception among a homeland public. Young Estonia created a new standard in Estonian book design. Discussions began around the question of ”nationalism” in art. The Young Estonia period 1905–1915 was an era of great change in Estonian art, and the artists connected with the movement played a major role in subsequent developments. Together they established the art association ”Pallas” in 1918
Groskreutz, Nicole C.; Karsina, Allen; Miguel, Caio F.; Groskreutz, Mark P.
Six participants with autism learned conditional relations between complex auditory-visual sample stimuli (dictated words and pictures) and simple visual comparisons (printed words) using matching-to-sample training procedures. Pre- and posttests examined potential stimulus control by each element of the complex sample when presented individually…
Namazi, Kevan H.; And Others
Conducted study on Alzheimer's unit to test seven different visual barrier conditions for reducing patient exits. Findings indicated that exiting was eliminated under two conditions. Results suggest visual agnosia, the inability to interpret what the eye sees, may be used as tool in managing wandering behavior of Alzheimer's patients. (Author/NB)
Jacobsen, Robert; Nielsen, Morten
In many cases it is possible to determine the authenticity of a painting from digital reproductions of the paintings; this has been demonstrated for a variety of artists and with different approaches. Common to all these methods in digital artist authentication is that the potential of the method...... is in focus, while the robustness has not been considered, i.e. the degree to which the data collection process influences the decision of the method. However, in order for an authentication method to be successful in practice, it needs to be robust to plausible error sources from the data collection....... In this paper we investigate the robustness of the newly proposed authenticity method introduced by the authors based on second generation multiresolution analysis. This is done by modelling a number of realistic factors that can occur in the data collection....
Eberhard E Fetz
Full Text Available The symbiotic relationships between art and the brain begin with the obvious fact that brain mechanisms underlie the creation and appreciation of art. Conversely, many spectacular images of neural structures have remarkable aesthetic appeal. But beyond its fascinating forms, the many functions performed by brain mechanisms provide a profound subject for aesthetic exploration. Complex interactions in the tangled neural networks in our brain miraculously generate coherent behavior and cognition. Neuroscientists tackle these phenomena with specialized methodologies that limit the scope of exposition and are comprehensible to an initiated minority. Artists can perform an end run around this impasse by representing the brain’s many functions in a manner that can communicate to a wide and receptive audience. This paper explores the ways that brain mechanisms can provide a largely untapped subject for artistic exploration.
Fetz, Eberhard E.
The symbiotic relationships between art and the brain begin with the obvious fact that brain mechanisms underlie the creation and appreciation of art. Conversely, many spectacular images of neural structures have remarkable aesthetic appeal. But beyond its fascinating forms, the many functions performed by brain mechanisms provide a profound subject for aesthetic exploration. Complex interactions in the tangled neural networks in our brain miraculously generate coherent behavior and cognition. Neuroscientists tackle these phenomena with specialized methodologies that limit the scope of exposition and are comprehensible to an initiated minority. Artists can perform an end run around these limitations by representing the brain's remarkable functions in a manner that can communicate to a wide and receptive audience. This paper explores the ways that brain mechanisms can provide a largely untapped subject for artistic exploration. PMID:22347178
A humid summer haze covers the River Seine and the grassy bank where young men and boys go swimming on Sunday. Everything seems so quiet, still, and very hot. They wear hats to protect them from the hot sun. The artist Georges Seurat used warm tones to give viewers the feeling of the hot sun. Seurat was trying to catch the dazzle of hot sunlight…
Full Text Available As a visual artist undertaking doctoral studies in education, the author required a research method that integrated her studio practice into her research process, giving equal weight to the visual and the linguistic. Her process of finding such a method is outlined in this article, which touches on arts-based research and practice-led research, and her ultimate approach of choice, collage. Collage, a versatile art form that accommodates multiple texts and visuals in a single work, has been proposed as a model for a “borderlands epistemology”: one that values multiple distinctive understandings and that deliberately incorporates nondominant modes of knowing, such as visual arts. As such, collage is particularly suited to a feminist, postmodern, postcolonial inquiry. This article offers a preliminary theorizing of collage as a method and is illustrated with images from the author's research/visual practice.
Cohn, R; Neumann, M A
In the study of children with language problems, particularly in reading and writing, it has been observed that some have an outstanding ability to produce artistic pictures and objects. These productions are perceptive, well organized and generally contain much action. Despite their pictorial skill these patients may have only a rudimentary use of coded symbolic graphic forms. Others display moderate ability in reading and writing. These patients frequently have the disorganized overacctive behavior and the motor clumsiness that is so common in the dyslectic child; some, however, are biologically effective. From this material we entertain the hypothesis that picture (artistic) productions are generated by the sub-dominant cerebral hemisphere, and that this function is quite distinct from the coded graphic operations resident in the dominant hemisphere. If this hypothesis is correct, it would seem socially benefical to allow these patients to develop their unique artistic ability to its full capacity, and not to overemphasize the correction of the disturbed coded symbol operations in remedial training.
The Japanese artist Mariko Mori visited CERN on 25 May. She met several scientists and found the visit very inspiring. CERN is becoming increasingly popular among artists of all kinds, from filmmakers to photographers, illustrators etc. Mariko Mori is not new to science-inspired artistic works; in 2006 she made Tom Na H-iu, a 3.2 m high glass sculpture illuminated by an internal LED connected in real time to the Super-Kamiokande neutrino detector in Japan. "When I worked with Super-Kamiokande I already had Tom Na H-iu in my mind; this time I am visiting CERN for my personal research", says Mori. "The LHC is a fantastic instrument whose challenge is to find the reality that we don’t know yet. In a way, art is also about creating new reality, although using a completely different approach. For me it is very important to gather information on what the whole scientific world is searching and reaching for: the truth of our existence, the...
Canesi, M; Rusconi, M L; Isaias, I U; Pezzoli, G
Creative drive and enhanced artistic-like production may emerge in patients with Parkinson's disease (PD) during dopaminergic therapy. However, it has not been described to date whether this artistic-like production results from dopaminergic drugs triggering innate skills or it could be considered as a repeated behavior possibly associated with impulse control disorders (ICDs). We investigated creative drive in a cohort of cognitively preserved patients with PD by means of the Torrance Test of Creative Thinking (TTCT). We also investigated a putative association between creative drive and ICDs in 36 PD patients with (PD-c) or without (PD-nc) increased artistic-like production and 36 healthy controls (HC). We considered artistic-like productivity to be enhanced if patients reported working on any form of art more than 2h per day after the introduction of dopaminergic treatment. The TTCT, the Barratt Impulsiveness Scale (BIS-11A), the Minnesota Impulsive Disorders Interview (MIDI), and the Punding Rating Scale were applied. Mean TTCT score of PD-c was found to be similar to HC (169.4±51.6 vs. 170.2±69.7, respectively), and both PD-c and HC had significantly higher TTCT scores than patients with PD-nc (125.4±46.1 Partistic-like production in patients with PD is not associated with impulsivity or ICDs. Artistic-like production might represent the emerging of innate skills in a subset of predisposed patients with PD on dopaminergic therapy. © 2011 The Author(s). European Journal of Neurology © 2011 EFNS.
Azizi, Amir Hossein; Pusch, Roland; Koenen, Charlotte; Klatt, Sebastian; Bröcker, Franziska; Thiele, Samuel; Kellermann, Janosch; Güntürkün, Onur; Cheng, Sen
Recognizing and categorizing visual stimuli are cognitive functions vital for survival, and an important feature of visual systems in primates as well as in birds. Visual stimuli are processed along the ventral visual pathway. At every stage in the hierarchy, neurons respond selectively to more complex features, transforming the population representation of the stimuli. It is therefore easier to read-out category information in higher visual areas. While explicit category representations have been observed in the primate brain, less is known on equivalent processes in the avian brain. Even though their brain anatomies are radically different, it has been hypothesized that visual object representations are comparable across mammals and birds. In the present study, we investigated category representations in the pigeon visual forebrain using recordings from single cells responding to photographs of real-world objects. Using a linear classifier, we found that the population activity in the visual associative area mesopallium ventrolaterale (MVL) distinguishes between animate and inanimate objects, although this distinction is not required by the task. By contrast, a population of cells in the entopallium, a region that is lower in the hierarchy of visual areas and that is related to the primate extrastriate cortex, lacked this information. A model that pools responses of simple cells, which function as edge detectors, can account for the animate vs. inanimate categorization in the MVL, but performance in the model is based on different features than in MVL. Therefore, processing in MVL cells is very likely more abstract than simple computations on the output of edge detectors. Copyright © 2018. Published by Elsevier B.V.
Morriss-Kay, Gillian M
Creating visual art is one of the defining characteristics of the human species, but the paucity of archaeological evidence means that we have limited information on the origin and evolution of this aspect of human culture. The components of art include colour, pattern and the reproduction of visual likeness. The 2D and 3D art forms that were created by Upper Palaeolithic Europeans at least 30 000 years ago are conceptually equivalent to those created in recent centuries, indicating that human cognition and symbolling activity, as well as anatomy, were fully modern by that time. The origins of art are therefore much more ancient and lie within Africa, before worldwide human dispersal. The earliest known evidence of ‘artistic behaviour’ is of human body decoration, including skin colouring with ochre and the use of beads, although both may have had functional origins. Zig-zag and criss-cross patterns, nested curves and parallel lines are the earliest known patterns to have been created separately from the body; their similarity to entopic phenomena (involuntary products of the visual system) suggests a physiological origin. 3D art may have begun with human likeness recognition in natural objects, which were modified to enhance that likeness; some 2D art has also clearly been influenced by suggestive features of an uneven surface. The creation of images from the imagination, or ‘the mind’s eye’, required a seminal evolutionary change in the neural structures underpinning perception; this change would have had a survival advantage in both tool-making and hunting. Analysis of early tool-making techniques suggests that creating 3D objects (sculptures and reliefs) involves their cognitive deconstruction into a series of surfaces, a principle that could have been applied to early sculpture. The cognitive ability to create art separate from the body must have originated in Africa but the practice may have begun at different times in genetically and culturally
Amarante, Paulo; Freitas, Fernando; Pande, Mariana Rangel; Nabuco, Edvaldo
This article presents the results of a qualitative study examining a series of artistic and cultural activities that emerged over the last years in Brazil in the context of psychiatric reform. Using both semi-structured interviews with users and mental health professionals as the authors of these activities, as well as participant observation in cultural and artistic events within the period 2007-2010, this study analyzes the role of recognition within the artistic-cultural dimension in the production of subjectivities different from those produced by the traditional psychiatric field.
Nikolaenko, Nikolay N.
Study of drawings by patients with local lesions of the right or left hemisphere allows to understand how artistic thinking is supported by brain structures. The role of the right hemisphere is significant at the early stage of creative process. The right hemisphere is a generator of nonverbal visuo-spatial thinking. It operates with blurred nonverbal images and arrange them in a visual space. With the help of iconic signs the right hemisphere reflects the world and creates perceptive visual standards which are stored in the long-term right hemisphere memory. The image, which appeared in the `inner' space, should be transferred into a principally different language, i.e. a left hemispheric sign language. This language operates with a number of discrete units, logical succession and learned grammar rules. This process can be explained by activation (information) transfer from the right hemisphere to the left one. Thus, natural and spontaneous creative process, which is finished by a conscious effort, can be understood as an activation impulse transfer from the right hemisphere to the left one and back.
von der Heydt, Rüdiger
A long history of studies of perception has shown that the visual system organizes the incoming information early on, interpreting the 2D image in terms of a 3D world and producing a structure that provides perceptual continuity and enables object-based attention. Recordings from monkey visual cortex show that many neurons, especially in area V2, are selective for border ownership. These neurons are edge selective and have ordinary classical receptive fields, but in addition their responses a...
Kozhevnikov, Maria; Kozhevnikov, Michael; Yu, Chen Jiao; Blazhenkova, Olesya
Despite the recent evidence for a multi-component nature of both visual imagery and creativity, there have been no systematic studies on how the different dimensions of creativity and imagery might interrelate. The main goal of this study was to investigate the relationship between different dimensions of creativity (artistic and scientific) and dimensions of visualization abilities and styles (object and spatial). In addition, we compared the contributions of object and spatial visualization abilities versus corresponding styles to scientific and artistic dimensions of creativity. Twenty-four undergraduate students (12 females) were recruited for the first study, and 75 additional participants (36 females) were recruited for an additional experiment. Participants were administered a number of object and spatial visualization abilities and style assessments as well as a number of artistic and scientific creativity tests. The results show that object visualization relates to artistic creativity and spatial visualization relates to scientific creativity, while both are distinct from verbal creativity. Furthermore, our findings demonstrate that style predicts corresponding dimension of creativity even after removing shared variance between style and visualization ability. The results suggest that styles might be a more ecologically valid construct in predicting real-life creative behaviour, such as performance in different professional domains. © 2013 The British Psychological Society.
Fagre, D. B.
Mountain glaciers continue to retreat rapidly over most of the globe. In North America, at Glacier National Park, Montana, recent research results from Sperry Glacier (2005-2007) indicate negative mass balances are now 3-4 times greater than in the 1950s. A geospatial model of glacier retreat in the Blackfoot-Jackson basin suggested all glaciers would be gone by 2030 but has proved too conservative. Accelerated glacier shrinkage since the model was developed has mirrored an increase in actual annual temperature that is almost twice the rate used in the model. The glaciers in Glacier National Park are likely to be gone well before 2030. A variety of media, curricula, and educational strategies have been employed to communicate the disappearance of the glaciers as a consequence of global warming. These have included everything from print media and television coverage to podcasts and wayside exhibits along roads in the park. However, a new thrust is to partner with artists to communicate climate change issues to new audiences and through different channels. A scientist-artist retreat was convened to explore the tension between keeping artistic products grounded in factually-based reality while providing for freedom to express artistic creativity. Individual artists and scientists have worked to create aesthetic and emotional images, using painting, poetry, music and photography, to convey core messages from research on mountain ecosystems. Finally, a traveling art exhibit was developed to highlight the photography that systematically documents glacier change through time. The aim was to select photographs that provide the most compelling visual experience for an art-oriented viewer and also accurately reflect the research on glacier retreat. The exhibit opens on January 11, 2009
Tuisku, Katinka; Houni, Pia; Seppänen, Johanna; Virtanen, Marianna
Although artistic work is in transition, the occupational wellbeing of artists has been less studied than wellbeing among other workers. This study aimed to explore the relationship between work characteristics and occupational (psychosocial) wellbeing of artists. A national questionnaire was sent to all artists (theatre artists, writers, and visual artists) reached by four major labor unions in Finland. Type of employment (permanent full-time work vs other), working field (own field of art vs other), regularity of working hours (regular vs irregular), and control of workload were assessed. The wellbeing outcomes were work engagement, recovery from work, and experience of stress and low mood. Full-time permanent employment, regular working hours, and working in one's own field of art were positively associated with work engagement. Furthermore, regular working hours were positively associated with recovery and negatively associated with subjective report of low mood. Ability to control workload was positively associated with recovery and negatively associated with stress and low mood. Higher age was associated with lower stress and better recovery. Artists with regular working hours, secure employment, ability to control workload, working in one's own field of art, and higher age reported better wellbeing in this study. The late stages of career appear to guarantee more stability and wellbeing than the more insecure beginning of a career.
Anghel Ona Ionica
Full Text Available The purpose of this study is to find out the arts teachers’ opinion regarding the three issues related to the strategies aimed to support pupils with artistic talent: what is? who supports? how do they support? the artistic talent. Three goals lead us to this aim: to sketch the profile of the pupils with artistic talent, depending on their conduct and needs; the identification of the activities to support these special children; the identification of the extent to which different institutions get involved in supporting the pupils with artistic talent. To achieve these goals, we used the opinion poll as a research method and the created instrument was represented by a five-item questionnaire - four of them requiring open answers and one for closed answers. A total of 29 teachers of visual arts and music education, theoretical and interpretive, were selected for this study. The obtained results brought us close to the image that the teachers have on the artistic talent phenomenon. According to the teachers, the artistic talent is visible if we pay attention to four fields: creativity, passion, harnessing talent, specific skills. Meeting the needs (material, emotional support, socialization with peers, recognition of their talent can be sources of shaping the educational strategies to support pupils with artistic talent by the main responsible institutions - the Ministry of Education, inspectorates, schools, NGOs.
The case of an 82-year-old female with probable Alzheimer's disease (AD), who developed unusual artistic creativity after development of her disease, is described. The possible pathogenetic mechanism is discussed. The patient showed no inclination toward visual arts during her premorbid years. However, 4 years after development of AD suggestive symptoms she started painting beautiful pictures rather impulsively. Some such paintings have been appreciated even by a qualified art expert. Such de novo development of artistic creativity had been described earlier in subjects with the semantic form of fronto-temporal dementia (FTD), but not in AD. The prevailing concept of lateralized compromise and paradoxical functional facilitation, proposed in connection with FTD subjects, may not be applicable in AD subjects where the affection is more diffuse and more posterior in the brain. Hence, the likely pathogenetic mechanism involved in the case described may remain uncertain. Possibilities are discussed.
Chemi, Tatiana; Jensen, Julie Borup; Hersted, Lone
, asking the question: how do artists create, learn, and organise their work? This book explores these questions by means of original empirical data (interviews with 22 artists) and theoretical research in the field of the arts and creativity from a learning perspective. Findings shed an original light...... on how artists learn and create, and how their creative learning and change processes come about, for instance when facilitating and leading creative processes....
Riché Deianne Richardson
Full Text Available « Mon Ennemi, Mon Frère, Mon Bourreau, Mon Amour, » the epic exhibition at ARC/ Musée d’art moderne de la ville de Paris running from 20 June to 9 September, reveals the creative genius and vision of the artist Kara Walker, who was born in Stockton, California in 1969. The show is her most comprehensive one yet in Europe and includes the form that Walker has uniquely developed and for which she is best known, cut-out black silhouettes that are sometimes small and at other times gigantic and r...
Full Text Available The study of working memory capacity is of outmost importance in cognitive psychology as working memory is at the basis of general cognitive function. Although the working memory capacity limit has been thoroughly studied, its origin still remains a matter of strong debate. Only recently has the role of visual saliency in modulating working memory storage capacity been assessed experimentally and proved to provide valuable insights into working memory function. In the computational arena, attractor networks have successfully accounted for psychophysical and neurophysiological data in numerous working memory tasks given their ability to produce a sustained elevated firing rate during a delay period. Here we investigate the mechanisms underlying working memory capacity by means of a biophysically-realistic attractor network with spiking neurons while accounting for two recent experimental observations: 1 the presence of a visually salient item reduces the number of items that can be held in working memory, and 2 visually salient items are commonly kept in memory at the cost of not keeping as many non-salient items. Our model suggests that working memory capacity is determined by two fundamental processes: encoding of visual items into working memory and maintenance of the encoded items upon their removal from the visual display. While maintenance critically depends on the constraints that lateral inhibition imposes to the mnemonic activity, encoding is limited by the ability of the stimulated neural assemblies to reach a sufficiently high level of excitation, a process governed by the dynamics of competition and cooperation among neuronal pools. Encoding is therefore contingent upon the visual working memory task and has led us to introduce the concept of effective working memory capacity (eWMC in contrast to the maximal upper capacity limit only reached under ideal conditions.
Dempere-Marco, Laura; Melcher, David P; Deco, Gustavo
The study of working memory capacity is of outmost importance in cognitive psychology as working memory is at the basis of general cognitive function. Although the working memory capacity limit has been thoroughly studied, its origin still remains a matter of strong debate. Only recently has the role of visual saliency in modulating working memory storage capacity been assessed experimentally and proved to provide valuable insights into working memory function. In the computational arena, attractor networks have successfully accounted for psychophysical and neurophysiological data in numerous working memory tasks given their ability to produce a sustained elevated firing rate during a delay period. Here we investigate the mechanisms underlying working memory capacity by means of a biophysically-realistic attractor network with spiking neurons while accounting for two recent experimental observations: 1) the presence of a visually salient item reduces the number of items that can be held in working memory, and 2) visually salient items are commonly kept in memory at the cost of not keeping as many non-salient items. Our model suggests that working memory capacity is determined by two fundamental processes: encoding of visual items into working memory and maintenance of the encoded items upon their removal from the visual display. While maintenance critically depends on the constraints that lateral inhibition imposes to the mnemonic activity, encoding is limited by the ability of the stimulated neural assemblies to reach a sufficiently high level of excitation, a process governed by the dynamics of competition and cooperation among neuronal pools. Encoding is therefore contingent upon the visual working memory task and has led us to introduce the concept of effective working memory capacity (eWMC) in contrast to the maximal upper capacity limit only reached under ideal conditions.
Dempere-Marco, Laura; Melcher, David P.; Deco, Gustavo
The study of working memory capacity is of outmost importance in cognitive psychology as working memory is at the basis of general cognitive function. Although the working memory capacity limit has been thoroughly studied, its origin still remains a matter of strong debate. Only recently has the role of visual saliency in modulating working memory storage capacity been assessed experimentally and proved to provide valuable insights into working memory function. In the computational arena, attractor networks have successfully accounted for psychophysical and neurophysiological data in numerous working memory tasks given their ability to produce a sustained elevated firing rate during a delay period. Here we investigate the mechanisms underlying working memory capacity by means of a biophysically-realistic attractor network with spiking neurons while accounting for two recent experimental observations: 1) the presence of a visually salient item reduces the number of items that can be held in working memory, and 2) visually salient items are commonly kept in memory at the cost of not keeping as many non-salient items. Our model suggests that working memory capacity is determined by two fundamental processes: encoding of visual items into working memory and maintenance of the encoded items upon their removal from the visual display. While maintenance critically depends on the constraints that lateral inhibition imposes to the mnemonic activity, encoding is limited by the ability of the stimulated neural assemblies to reach a sufficiently high level of excitation, a process governed by the dynamics of competition and cooperation among neuronal pools. Encoding is therefore contingent upon the visual working memory task and has led us to introduce the concept of effective working memory capacity (eWMC) in contrast to the maximal upper capacity limit only reached under ideal conditions. PMID:22952608
Kellogg, L. H.
At the W. M. Keck Center for Active Visualization in Earth Sciences (KeckCAVES), a group of geoscientists and computer scientists collaborate to develop and use of interactive, immersive, 3D visualization technology to view, manipulate, and interpret data for scientific research. The visual impact of immersion in a CAVE environment can be extremely compelling, and from the outset KeckCAVES scientists have collaborated with artists to bring this technology to creative works, including theater and dance performance, installations, and gamification. The first full-fledged collaboration designed and produced a performance called "Collapse: Suddenly falling down", choreographed by Della Davidson, which investigated the human and cultural response to natural and man-made disasters. Scientific data (lidar scans of disaster sites, such as landslides and mine collapses) were fully integrated into the performance by the Sideshow Physical Theatre. This presentation will discuss both the technological and creative characteristics of, and lessons learned from the collaboration. Many parallels between the artistic and scientific process emerged. We observed that both artists and scientists set out to investigate a topic, solve a problem, or answer a question. Refining that question or problem is an essential part of both the creative and scientific workflow. Both artists and scientists seek understanding (in this case understanding of natural disasters). Differences also emerged; the group noted that the scientists sought clarity (including but not limited to quantitative measurements) as a means to understanding, while the artists embraced ambiguity, also as a means to understanding. Subsequent art-science-technology collaborations have responded to evolving technology for visualization and include gamification as a means to explore data, and use of augmented reality for informal learning in museum settings.
Peterson-Lewis, Sonja; Chennault, Shirley A.
Identifies three successful self-presentational patterns used by black artists to penetrate the music television market. Discusses the historical relationship between minorities and the mass media. (MS)
Castillejo, Mar; Fernández-Cedena, Jorge; Siles, Silvia; Claver, María Dolores; Ávila, Noemí
This article describes the strategy of incorporating artists into the teams of community health in the city of Madrid, specifically in the Madrid Salud Centers. The artistic colletive, Batas Nómadas, formed by three artists expertized in visual arts, has developed performances and participatory aproach to explain the incorporation of art and artists in these teams of professionals of Madrid Salud. Batas Nómadas has carried out sessions in 14 work teams of the Madrid Salud Centers and has collected data in a creative way from the 179 professionals that have participated in these sessions. These actions have shown some needs in community health, and have noticed a meaningful reflection on the usefulness of the art to develop participative strategies into the Madrid Salud teams. Copyright © 2018. Publicado por Elsevier España, S.L.U.
Rustin, Terry A.
Objective: Artwork and psychiatric disorders are often linked. Accomplished artists with psychiatric disorders express themselves and their emotional distress through their works, and art therapists use the visual arts to help clients understand their problems and cope with them. There have been a number of psychiatric patients with no previous art training who produced artwork that many consider museum-worthy (Art Brut, or Outsider Art.) For the past two years, I have used artwork in another way: to better understand my clients and their psychiatric disorders. Methods: Presented here are paintings I have made about the mental illness experience of some of my clients, all well known to me through their therapy. It is a form of visual psychodrama, in which I reverse roles with the client through the paintings. My goal has been to experience the stresses felt by my clients so that I can understand them better. Results: The paintings have served as a point of embarkation for therapy sessions, as a means of clarifying a client’s experience, and as a way to show clients that their therapist is attending to what they say. Countertransference undoubtedly plays a role in my choice of clients and their portrayals, but the intent is to help me better understand the clients’ experiences. Included here are images of some of these paintings with a short psychiatric history of the client about whom they were made. Accompanying each one are responses from the clients upon viewing “their” paintings, and a discussion of the client’s psychiatric disorder. Conclusions: Making these paintings has helped me understand better the feelings of isolation, rejection, loss, and alienation that many of my clients experience every day. In turn, they tell me that viewing the paintings is an intense experience for them as well. As an outsider artist, I must leave it to the viewer to determine whether or not these paintings qualify as “art.” PMID:19742284
Piazza, Lisa M.
In western societies, the persona of the artist has largely been associated with prevailing myths of the creative individual including the artist as genius and outsider. In my inquiry I endeavored to understand what it means to be an artist from the perspective of budding "creatives." In this study I explored the process of becoming an…
Rüdiger evon der Heydt
Full Text Available A long history of studies of perception has shown that the visual system organizes the incoming information early on, interpreting the 2D image in terms of a 3D world and producing a structure that provides perceptual continuity and enables object-based attention. Recordings from monkey visual cortex show that many neurons, especially in area V2, are selective for border ownership. These neurons are edge selective and have ordinary classical receptive fields, but in addition their responses are modulated (enhanced or suppressed depending on the location of a ‘figure’ relative to the edge in their receptive field. Each neuron has a fixed preference for location on one side or the other. This selectivity is derived from the image context far beyond the classical receptive field. This paper reviews evidence indicating that border ownership selectivity reflects the formation of early object representations (‘proto-objects’. The evidence includes experiments showing (1 reversal of border ownership signals with change of perceived object structure, (2 border ownership specific enhancement of responses in object-based selective attention, (3 persistence of border ownership signals in accordance with continuity of object perception, and (4 remapping of border ownership signals across saccades and object movements. Findings 1 and 2 can be explained by hypothetical grouping circuits that sum contour feature signals in search of objecthood, and, via recurrent projections, enhance the corresponding low-level feature signals. Findings 3 and 4 might be explained by assuming that the activity of grouping circuits persists and can be remapped. Grouping, persistence and remapping are fundamental operations of vision. Finding these operations manifest in low-level visual areas challenges traditional views of visual processing. New computational models need to be developed for a comprehensive understanding of the function of the visual cortex.
von der Heydt, Rüdiger
A long history of studies of perception has shown that the visual system organizes the incoming information early on, interpreting the 2D image in terms of a 3D world and producing a structure that provides perceptual continuity and enables object-based attention. Recordings from monkey visual cortex show that many neurons, especially in area V2, are selective for border ownership. These neurons are edge selective and have ordinary classical receptive fields (CRF), but in addition their responses are modulated (enhanced or suppressed) depending on the location of a 'figure' relative to the edge in their receptive field. Each neuron has a fixed preference for location on one side or the other. This selectivity is derived from the image context far beyond the CRF. This paper reviews evidence indicating that border ownership selectivity reflects the formation of early object representations ('proto-objects'). The evidence includes experiments showing (1) reversal of border ownership signals with change of perceived object structure, (2) border ownership specific enhancement of responses in object-based selective attention, (3) persistence of border ownership signals in accordance with continuity of object perception, and (4) remapping of border ownership signals across saccades and object movements. Findings 1 and 2 can be explained by hypothetical grouping circuits that sum contour feature signals in search of objectness, and, via recurrent projections, enhance the corresponding low-level feature signals. Findings 3 and 4 might be explained by assuming that the activity of grouping circuits persists and can be remapped. Grouping, persistence, and remapping are fundamental operations of vision. Finding these operations manifest in low-level visual areas challenges traditional views of visual processing. New computational models need to be developed for a comprehensive understanding of the function of the visual cortex.
von der Heydt, Rüdiger
A long history of studies of perception has shown that the visual system organizes the incoming information early on, interpreting the 2D image in terms of a 3D world and producing a structure that provides perceptual continuity and enables object-based attention. Recordings from monkey visual cortex show that many neurons, especially in area V2, are selective for border ownership. These neurons are edge selective and have ordinary classical receptive fields (CRF), but in addition their responses are modulated (enhanced or suppressed) depending on the location of a ‘figure’ relative to the edge in their receptive field. Each neuron has a fixed preference for location on one side or the other. This selectivity is derived from the image context far beyond the CRF. This paper reviews evidence indicating that border ownership selectivity reflects the formation of early object representations (‘proto-objects’). The evidence includes experiments showing (1) reversal of border ownership signals with change of perceived object structure, (2) border ownership specific enhancement of responses in object-based selective attention, (3) persistence of border ownership signals in accordance with continuity of object perception, and (4) remapping of border ownership signals across saccades and object movements. Findings 1 and 2 can be explained by hypothetical grouping circuits that sum contour feature signals in search of objectness, and, via recurrent projections, enhance the corresponding low-level feature signals. Findings 3 and 4 might be explained by assuming that the activity of grouping circuits persists and can be remapped. Grouping, persistence, and remapping are fundamental operations of vision. Finding these operations manifest in low-level visual areas challenges traditional views of visual processing. New computational models need to be developed for a comprehensive understanding of the function of the visual cortex. PMID:26579062
Drago, V; Foster, P S; Okun, M S; Cosentino, F I I; Conigliaro, R; Haq, I; Sudhyadhom, A; Skidmore, F M; Heilman, K M
The influence of Parkinson's disease (PD) as well as deep brain stimulation (DBS) on visual-artistic production of people who have been artists is unclear. We systematically assessed the artistic-creative productions of a patient with PD who was referred to us for management of a left subthalamic region (STN) DBS. The patient was an artist before her disease started, permitting us to analyze changes in her artistic-creative production over the course of the illness and during her treatment with DBS. We collected her paintings from four time periods: Time 1 (Early Pre-Presymptomatic), Time 2 (Later Presymptomatic), Time 3 (Symptomatic), and Time 4 (DBS Symptomatic). A total of 59 paintings were submitted to a panel of judges, who rated the paintings on 6 different artistic qualities including: aesthetics, closure, evocative impact, novelty, representation, technique. Aesthetics and evocative impact significantly declined from Time 2 to Time 4. Representation and technique indicated a curvilinear relationship, with initial improvement from Time 1 to Time 2 followed by a decline from Time 2 to Time 4. These results suggest that left STN/SNR-DBS impacted artistic performances in our patient. The reason for these alterations is not known, but it might be that alterations of left hemisphere functions induce a hemispheric bias reducing the influence the right hemisphere which is important for artistic creativity. The left hemisphere itself plays a critical role in artistic creativity and DBS might have altered left hemisphere functions or altered the mesolimbic system which might have also influenced creativity. Future studies will be required to learn how PD and DBS influence creativity.
Iordan, Marius Cătălin; Greene, Michelle R; Beck, Diane M; Fei-Fei, Li
Objects can be simultaneously categorized at multiple levels of specificity ranging from very broad ("natural object") to very distinct ("Mr. Woof"), with a mid-level of generality (basic level: "dog") often providing the most cognitively useful distinction between categories. It is unknown, however, how this hierarchical representation is achieved in the brain. Using multivoxel pattern analyses, we examined how well each taxonomic level (superordinate, basic, and subordinate) of real-world object categories is represented across occipitotemporal cortex. We found that, although in early visual cortex objects are best represented at the subordinate level (an effect mostly driven by low-level feature overlap between objects in the same category), this advantage diminishes compared to the basic level as we move up the visual hierarchy, disappearing in object-selective regions of occipitotemporal cortex. This pattern stems from a combined increase in within-category similarity (category cohesion) and between-category dissimilarity (category distinctiveness) of neural activity patterns at the basic level, relative to both subordinate and superordinate levels, suggesting that successive visual areas may be optimizing basic level representations.
Anderson de Sousa Silva
Full Text Available This article aims to discuss the creation and history of the Center for Visual Arts: Casa Raimundo Cela and the National Plastic Arts of Ceara Hall, as an affirmation mechanism of public politics culture and to official institutions of the arts in Ceara. It has been focused on reflecting in the relationship between the State and culture, which in the mid-1960s has intensified due to the creation of the Secretaria and the State Council of Culture, as well as the performance of artists and intellectuals in the organs linked to these institutions. In the meantime, the present study also aims to investigate the Ceara insertion project in the Brazilian art scene, through the creation of a Hall of National Art, either the emergence of a new generation of artists and new aesthetic figurations emerged in the local and national artistic dialogues.
... INTERNATIONAL TRADE COMMISSION [Investigation No. 731-TA-1091 (Review)] Artists' Canvas From China... U.S.C. 1675(c)), that revocation of the antidumping duty order on artists' canvas from China would... China: Investigation No. 731-TA-1091 (Review). By order of the Commission. Issued: October 25, 2011...
Botella, Marion; Zenasni, Franck; Lubart, Todd
Research on creative artists has examined mainly their personality traits or cognitive abilities. However, it seems important to explore also their emotional traits to complete the profile. This study examines two emotional characteristics: alexithymia and affect intensity. Even if most research suggests that artists are less alexithymic and…
Full Text Available As an acknowledgement of Midi Onodera's long and productive career as a Canadian artist and filmmaker who has consistently demonstrated critical engagement with her subjects and her chosen media, we have invited her to be the guest artist-filmmaker for the inaugural issue of Imaginations: Journal of Cross-Cultural Image Studies.
Guentay, S.; Suckow, D.; Dehbi, A.; Kapulla, R.
Aerosol Trapping In a Steam Generator (ARTIST) is a seven-phase international project (2003-2007) which investigates aerosol and droplet retention in a model steam generator under dry, wet and accident management conditions, respectively. The test section is comprised of a scaled steam generator tube bundle consisting of 270 tubes and three stages, one 1:1 separator unit, and one 1:1 dryer unit. As a prelude to the ARTIST project, four tests are conducted in the ARTIST bundle within the 5th EU FWP SGTR. These first tests address aerosol deposition phenomena on two different scales: near the tube break, where the gas velocities are sonic, and far away from the break, where the flow velocities are three orders of magnitude lower. With a dry bundle and the full flow representing the break stage conditions, there is strong evidence that the TiO 2 aerosols used (AMMD 2-4 μm, 32 nm primary particles) disintegrate into much smaller particles because of the sonic conditions at the break, hence promoting particle escape from the secondary and lowering the overall DF, which is found to be between 2.5 and 3. With a dry bundle and a small flow reproducing the far-field velocities, the overall bundle DF is of the order of 5, implying a DF of about 1.9 per stage. Extrapolating the results of the dry tests, it turns out that for steam generators with nine or more stages, it is expected that substantial DF's could be achieved when the break is located near the tube sheet region. In addition, better decontamination is expected using more representative proxies of severe accident aerosols (sticky, multi-component particles), a topic which is yet to be investigated. When the bundle is flooded, the DF is between 45 and 5740, depending on the mass flow rate, the steam content, and the water submergence. The presence of steam in the carrier gas and subsequent condensation inside the broken tube causes aerosol deposition and blockages near the break, leading to an increase in the
Guntay, S.; Suckow, D.; Dehbi, A.; Kapulla, R.
ARTIST (Aerosol Trapping In a Steam Generator) is an international project which investigates aerosol and droplet retention in a model steam generator under dry, wet and accident management conditions, respectively. The test section comprises a scaled steam generator tube bundle consisting of 270 tubes and 3 stages, one 1:1 separator unit, and one 1:1 dryer unit. As a prelude to the ARTIST project, four tests are conducted in the ARTIST bundle. These first tests address aerosol deposition phenomena on two different scales: near the tube break, where the gas velocities are sonic, and far away from the break, where the flow velocities are 3 orders of magnitude lower. With a dry bundle and the full flow representing the break stage conditions, there is strong evidence that the TiO 2 aerosols used (AMMD 2-4 μm, 32 nm primary particles) disintegrate into much smaller particles because of the sonic conditions at the break, hence promoting particle escape from the secondary and lowering the overall decontamination factor (DF), which is found to be between 2.5 and 3. With a dry bundle and a small flow reproducing the far-field velocities, the overall bundle DF is of the order of 5, implying a DF of about 1.9 per stage. Extrapolating the results of the dry tests, it turns out that for steam generators with 9 or more stages, it is expected that substantial DFs could be achieved when the break is located near the tube sheet region. In addition, better decontamination is expected using more representative proxies of severe accident aerosols (sticky, multicomponent particles), a topic which is yet to be investigated. When the bundle is flooded, the DF is between 45 and 5740, depending on the mass flow rate, the steam content, and the water submergence. The presence of steam in the carrier gas and subsequent condensation inside the broken tube causes aerosol deposition and blockages near the break, leading to an increase in the primary pressure. This has implications for real
Rivas-Medina, A.; Gutierrez, V.; Gaspar-Escribano, J. M.; Benito, B.
Results of a seismic risk assessment study are often applied and interpreted by users unspecialised on the topic or lacking a scientific background. In this context, the availability of tools that help translating essentially scientific contents to broader audiences (such as decision makers or civil defence officials) as well as representing and managing results in a user-friendly fashion, are on indubitable value. On of such tools is the visualization tool VISOR-RISNA, a web tool developed within the RISNA project (financed by the Emergency Agency of Navarre, Spain) for regional seismic risk assessment of Navarre and the subsequent development of emergency plans. The RISNA study included seismic hazard evaluation, geotechnical characterization of soils, incorporation of site effects to expected ground motions, vulnerability distribution assessment and estimation of expected damage distributions for a 10% probability of exceedance in 50 years. The main goal of RISNA was the identification of higher risk area where focusing detailed, local-scale risk studies in the future and the corresponding urban emergency plans. A geographic information system was used to combine different information layers, generate tables of results and represent maps with partial and final results. The visualization tool VISOR-RISNA is intended to facilitate the interpretation and representation of the collection of results, with the ultimate purpose of defining actuation plans. A number of criteria for defining actuation priorities are proposed in this work. They are based on combinations of risk parameters resulting from the risk study (such as expected ground motion and damage and exposed population), as determined by risk assessment specialists. Although the values that these parameters take are a result of the risk study, their distribution in several classes depends on the intervals defined by decision takers or civil defense officials. These criteria provide a ranking of
Galileo spacecraft is illustrated in artist concept. Gallileo, named for the Italian astronomer, physicist and mathematician who is credited with construction of the first complete, practical telescope in 1620, will make detailed studies of Jupiter. A cooperative program with the Federal Republic of Germany the Galileo mission will amplify information acquired by two Voyager spacecraft in their brief flybys. Galileo is a two-element system that includes a Jupiter-orbiting observatory and an entry probe. Jet Propulsion Laboratory (JPL) is Galileo project manager and builder of the main spacecraft. Ames Research Center (ARC) has responsibility for the entry probe, which was built by Hughes Aircraft Company and General Electric. Galileo will be deployed from the payload bay (PLB) of Atlantis, Orbiter Vehicle (OV) 104, during mission STS-34.
On Monday, 19 January, CERN physicists welcomed musician Tim Blake - progressive rock keyboard and theremin player - and architectural lighting designer Patrice Warrener - inventor of the Chromolithe Polychromatic Illumination system, used in Lyon’s “Fête des Lumières”. Together, they make up the musical duo "Crystal Machine". The artists visit the Antiproton Decelerator. (Image: Django Manglunki.) Their visit began with an introduction to CERN by their friend Django Manglunki, project leader for the ion injector chain, and an improvised discussion on the LHC extraction system with Roger Barlow, kicker magnet controls expert and progressive rock fan. This was followed by a quick trip to the CCC, the server room and the SPS RF amplifiers in BA3. Next on the itinerary was a tour of the AD and anti-hydrogen experiments led by Michael Doser, AEgIS Spokesperson. A leisurely lunch followed, in the company ...
Ashbaugh, Justin C.
The primary goal of this thesis was to create a physical library of artist material samples. This collection provides necessary data for the development of a gonio-imaging system for use in museums to more accurately document their collections. A sample set was produced consisting of 25 panels and containing nearly 600 unique samples. Selected materials are representative of those commonly used by artists both past and present. These take into account the variability in visual appearance resulting from the materials and application techniques used. Five attributes of variability were identified including medium, color, substrate, application technique and overcoat. Combinations of these attributes were selected based on those commonly observed in museum collections and suggested by surveying experts in the field. For each sample material, image data is collected and used to measure an average bi-directional reflectance distribution function (BRDF). The results are available as a public-domain image and optical database of artist materials at art-si.org. Additionally, the database includes specifications for each sample along with other information useful for computer graphics rendering such as the rectified sample images and normal maps.
Franklin, Michael A; Grossenbacher, Peter G
This response to Ian E. Wickramasekera II's article, Mysteries of Hypnosis and the Self Are Revealed by the Psychology and Neuroscience of Empathy, is addressed from a joint perspective on consciousness comprising two related orientations: neuroscience and artistic imagination. We find that the central importance of empathy to empathic involvement theory (Wickramasekera II, 2015) reflects the pivotal nature of empathy in the brain and in the relational exchange implicit in the psychotherapeutic process, particularly when using art in therapy. We offer a preliminary unpacking of the roles related to key psychological processes, such as imagination, that are implicated in clinical uses of verbal and visual empathic resonance.
between technical and artistic minded students is, however, increased once the students reach the sixth semester. The complex algorithms of the artificial intelligence course seemed to demotivate the artistic minded students even before the course began. This paper will present the extensive changes made...... to the sixth semester artificial intelligence programming course, in order to provide a highly motivating direct visual feedback, and thereby remove the steep initial learning curve for artistic minded students. The framework was developed with close dialog to both the game industry and experienced master...
Kozhevnikov, Maria; Kozhevnikov, Michael; Yu, Chen Jiao; Blazhenkova, Olesya
Background: Despite the recent evidence for a multi-component nature of both visual imagery and creativity, there have been no systematic studies on how the different dimensions of creativity and imagery might interrelate. Aims: The main goal of this study was to investigate the relationship between different dimensions of creativity (artistic and…
Full Text Available By studying the cultural and aesthetic impact of increasingly pervasive digital technologies and mass amateurization, this paper examines the ramifications of the networked information economy on professional photographic practice and considers the concomitant implications for the photographic classroom. Using the framework of convergence culture as per the writings of Yochai Benkler, Henry Jenkins, Mark Deuze, and Axel Bruns, the impact of accessible and instantaneous image creation and dispersal are explored. Given the rise of consumer engagement in brand co-creation on social media platforms, we can observe massive changes to professional practice in areas such as aesthetics, and the erosion of previous sustainable business models. Indeed, as traditional notions of “expertise” shift from technological prowess to narrative and disseminative abilities, the effects on commercial practice and photographic education need to be addressed. This paper argues that there are three emerging priorities for commercial image use: narrative ability, authenticity, and subjectivity and suggests initial steps in their pedagogical application. By acknowledging these transformations, this paper explores the idea that students need to harness technique, social media influence, adaptability, subjectivity, and storytelling power in order to better serve emerging image-based needs in commercial spaces.
Vartanian, Oshin; Martindale, Colin; Podsiadlo, Jacob; Overbay, Shane; Borkum, Jonathan
In painting, composition is commonly defined as the two-dimensional arrangement of elements within the canvas. Each element is considered to have a perceptual weight. The arrangement of these weighted elements determines how balanced a painting is. It has been suggested that due to superior composition, masterworks may be more balanced than works of lower artistic quality. We tested this hypothesis by instructing our participants to rate masterworks and selections of lower artistic quality on balance. This hypothesis was not supported. Second, it has been suggested that rearranging elements within a painting may have a more detrimental effect on composition (and by extension balance) in masterworks than in selections of lower artistic quality. This view associates works of higher artistic quality with visual rightness, thereby predicting that compositional change would be more likely to cause deviations from a visually right state in masterworks. We tested this hypothesis by displacing an element within each painting to a different location, and measuring the effect on balance. In accordance with recent findings in the literature, we also took into account the severity of the compositional alterations. The results demonstrated that compositional alteration affected balance ratings equally across masterworks and selections of lower artistic quality. These results demonstrate that, although balance is a function of compositional structure, balance on its own is not sufficient to distinguish between works of varying artistic quality. To the extent that balance is considered a function of composition, the results suggest that masterworks are distinguished from works of lower artistic quality for reasons other than solely composition.
Manders, Elizabeth; Chilton, Gioia
The authors used artistic inquiry to study intersubjectivity in a weekly, stimulated creative arts therapy studio experience for one year. They found that the conversion of meaning from the meta-verbal, imaginal, aesthetic language of dance and visual art into verbal and textual discourse required complex translational processes. Personal…
Full Text Available The visual and audiovisual arts have an important presence on the Internet. For this reason, it is currently impossible to develop an Arts Education that does not take into account the relevance of digital culture. In the 21st century, the didactic approach to art requires the implementation of media literacy, visual and audiovisual processes. Media and Artistic Education come together to ensure individual and social transformation. Digital Humanities has much to do with this purpose. They are centred on the empowerment of citizens, made possible through learning and creativity processes. There is an urgent need to adapt Arts Education to digital culture and innovation, artistic and educational, through technological media and screens. This text proposes some conceptual bases that, from an interdisciplinary point of view, allow artistic education that takes into account the characteristics of a prosumer society. This society is immersed in processes of active participation in Social Media, but also tends to info-xication that produces the mass creation and diffusion of images. The transition from an educational and artistic model, eminently manual, to a new reality based on technology and the relational factor, must be considered as a constructionist evolution that allows implementing an integrating approach of old and new approaches. The objective is to consolidate creativity and artistic understanding as a factor for human development and social transformation, essential factors for critical citizenship.
Høyersten, J G
Psychopathography is a specific kind of biography focusing on psychological and psychopathological aspects of the personality and their significance for creative activity, especially in famous persons. Psychopathography evolved as a discipline from the 1830's onwards, as a product of psychiatry emerging as a science, reflecting its reductionist and nosological approach. An illustration of this method is the analysis of the author E.T.A. Hoffmann, a prototypical representative of the German romanticism at the beginning of the century. Hoffmann himself expresses, in allegorical terms, the menacing, irrational and unconscious domains of the human soul. Romanticism may be seen as a forerunner of the psychoanalytic movement. Confronted with modernism in art, pathographic considerations were to a large extent based upon the object of art itself, often with arrogant and repudiating conclusions concerning the artist. Classical psychoanalysis has had a marked tendency to deduce a great deal about the personality of the artist or the writer solely from analysis of a picture or written text. The pathographic approach of the first century of scientific psychiatry has had a renaissance over the last 15-20 years: The ever increasing interest in affective syndromes has entailed a tendency to trace and identify affective pathology in artists and writers, deceased or alive, often emphasizing the affective dynamics of the creative process, aspects also noted by the classical pathographers. More recent studies of the creative personality may also present improved instruments for the study of the creative process.
Federal Laboratory Consortium — FUNCTION: Evaluates and improves the operational effectiveness of existing and emerging electronic warfare systems. By analyzing and visualizing simulation results...
Dikaya L. A.
Full Text Available The steadily increasing demand for artistic professions brings to the fore the task of studying the phenomenon of art by researching the unique capacity of the human brain to create works of art in different spheres of creative activity. So far, only a few studies have investigated creativity-related brain activity in representatives of the creative professions. The aim of the empirical research was to study the neurophysiological correlates of artistic image creation by representatives of the artistic professions. The participants were 60 right-handed females aged 23-27, divided into three groups— artists (23 people, actors (17 people, and specialists who do not work in an artistic field (20 people. The mono-typing technique was used to model the creative artistic process. EEG signals were recorded in a resting state, and during four stages of the creation of an artistic image (viewing of monotypes, frustration, image creation, and thinking over the details from 21 electrodes set on the scalp according to the International 10-20 System. We analyzed EEG coherence for each functional trial at theta (4.00–8.00 Hz, alpha1 (8.00–10.5 Hz, alpha2 (10.5–13.00 Hz, and beta (13.00– 35.00 Hz frequency bands. For statistical analysis, we used MANOVA and post hoc analysis. We found that the neurophysiological correlates of creating an artistic image are different at different stages of the creative process, and have different features for artists and actors. The actors primarily show dominance of right hemisphere activity, while close interaction of the hemispheres distinguishes the brains of the artists. The differences revealed in brain cortex functioning when artists or actors create an artistic image reflect different strategies of imaginative creative work by representatives of these professions.
Davies, Sarah Rachael; Selin, Cynthia; Rodegher, Sandra
The Emerge event, held in Tempe, AZ in March 2012, brought together a range of scientists, artists, futurists, engineers and students in order to experiment with innovative methods for thinking about the future. These methodological techniques were tested through nine workshops, each of which made...... use of a different format; Emerge as a whole, then, offered an opportunity to study a diverse set of future-oriented engagement practices. We conducted an event ethnography, in which a team of 11 researchers collaboratively developed accounts of the practices at play within Emerge and its workshops...
Sparkes, John CL
A valuable resource for practicing artists, this systematic presentation explores the depiction of bones and muscles, both in detail and in larger groups. Captions and extensive descriptions. 49 full-page plates, plus numerous smaller drawings.
Full Text Available Identity and privacy concerns related to social media are the subject of widespread academic enquiry and mass media reporting. Although in most circumstances academic research tends to present identity play and online selfpresentation as positive, media reporting in Australia makes much of the risks of identity theft, privacy breaches and online predators. This research explores the phenomenological experience of creating an online persona, focusing particularly on street artists. For street artists, the threat of unwanted exposure has to be balanced with the positive implications of sharing their creative work outside its geographical and temporal constraints. I argue that street artists use complex personacreation strategies in order to both protect and promote themselves. The two street artists discussed in this article experience their engagement with social media and digital networks in ways that offer new insight into the opportunities and problems associated with the presentation of a persona online.
Full Text Available Using the analogy of children’s building blocks, the reader is guided through the results of a research study that explored the use of three Artistic Pedagogical Technologies (APTs. ‘Building blocks’ was the major theme that emerged from the data. Sub-themes included developing community, enhancing creativity, and risk taking. The discourse of the paper centers on how selected APTs stimulate interaction, create social presence, and help develop community in the online post-secondary classroom. Additional findings are discussed and implications are presented.
Risner, Doug; Anderson, Mary Elizabeth
This case study is drawn from the authors' ongoing international study of teaching artists in dance and theatre. The study takes an in-depth look at teaching artists' artistic and academic preparation in dance and theatre, entry into the teaching artist field, rewards, challenges, and assessment of their work, and their professional development,…
Artistic biography as special metagenre variety is examined in the article. In basis of biographic work is a hypothesis-model of life of hero-prototype. Writer-biographer, as a rule, in biographic works uses actively by diaries, memoirs, documents, protocols, newspaper and magazine publications, public appearances, that is instrumental in working out in detail of appearance of historical epoch and appearance of artist, and also tripping of with a plot canvas of works.On the example of novels-...
Sanja Filipović; Milica Vojvodić
Abstract Structural development implies control and capability of the expression usage in terms of independent creative expression and making. Understanding of structural development of child's artistic expression as a phenomenon (which is suitable to child's age) has some implications on methodical acts considering artistic education of children and youngsters. Therefore, it is of unexceptional importance to know these laws as well as methodical acts which encourage the structural develop...
Yim, Ji-Dong; Shaw, Chris D.; Bartram, Lyn
In this paper we introduce Musician Map, a web-based interactive tool for visualizing relationships among popular musicians who have released recordings since 1950. Musician Map accepts search terms from the user, and in turn uses these terms to retrieve data from MusicBrainz.org and AudioScrobbler.net, and visualizes the results. Musician Map visualizes relationships of various kinds between music groups and individual musicians, such as band membership, musical collaborations, and linkage to other artists that are generally regarded as being similar in musical style. These relationships are plotted between artists using a new timeline-based visualization where a node in a traditional node-link diagram has been transformed into a Timeline-Node, which allows the visualization of an evolving entity over time, such as the membership in a band. This allows the user to pursue social trend queries such as "Do Hip-Hop artists collaborate differently than Rock artists".
Full Text Available Wherever they go the circus and circus arts have always captured the attention of people in small and large cities. Artists were not indifferent to this influence; it is what reveals the heterogeneous production of circus representations in the field of literature, the visual arts, music etc. This can be understood as a short essay since it is a brief incursion into the Brazilian artistic imagination which presents the first reflections regarding the female circus performer, here, poetically christened, as a "circus girl". It is a symbolic analysis inspired on Nietzsche’s tragic philosophy.
Eileen Maree Siddins
Full Text Available Enrolments in higher education programs in the creative and performing arts are increasing in many countries. Yet graduates of these degrees, who enter the broad sector known as the creative industries, face particular challenges in terms of securing long-term and sustainable employment. In addition, creative and performing artists face a range of mental challenges, caused by such factors as: the solitary nature of much creative practice, critical feedback by audiences and gatekeepers, or the general pressures associated with maintaining artistic relevance or integrity. The concepts of resilience and professional wellbeing are therefore highly relevant to those who pursue a career in creative industries, and while there has been an emerging body of work in this area, to date it has focussed on the performing arts area (e.g. music, theatre. Hence, in order to expand knowledge relevant to resilience and artists, this paper sets out to explore the extent to which current educators in the Australian context specifically address these issues within higher visual arts curricula; specifically the areas of illustration, design, film and photography. This was achieved via interviews with seventeen current academics working in these areas. The findings propose that higher education providers of programs in the visual arts consider placing a stronger emphasis on the embedded development of resilience and professional wellbeing capacities.
This thesis describes artistic representation through pulsed holography. One of the prevalent practical problems in making holograms is object movement. Any movement of the object or film, including movement caused by acoustic vibration, has the same fatal results. One way of reducing the chance of movement is by ensuring that the exposure is very quick; using a pulsed laser can fulfill this objective. The attractiveness of using pulsed laser is based on the variety of materials or objects that can be recorded (e.g., liquid material or instantaneous scene of a moving object). One of the most interesting points about pulsed holograms is that some reconstructed images present us with completely different views of the real world. For example, the holographic image of liquid material does not appear fluid; it looks like a piece of hard glass that would produce a sharp sound upon tapping. In everyday life, we are unfamiliar with such an instantaneous scene. On the other hand, soft-textured materials such as a feather or wool differ from liquids when observed through holography. Using a pulsed hologram, we can sense the soft touch of the object or material with the help of realistic three-dimensional (3-D) images. The images allow us to realize the sense of touch in a way that resembles touching real objects. I had the opportunity to use a pulsed ruby laser soon after I started to work in the field of holography in 1979. Since then, I have made pulsed holograms of activities, including pouring water, breaking eggs, blowing soap bubbles, and scattering feathers and popcorn. I have also created holographic art with materials and objects, such as silk fiber, fabric, balloons, glass, flowers, and even the human body. Whenever I create art, I like to present the spectator with a new experience in perception. Therefore, I would like to introduce my experimental artwork through those pulsed holograms.
Clarke, Lyndsey; Chen, Min; Mora, Benjamin
Caricatures are a form of humorous visual art, usually created by skilled artists for the intention of amusement and entertainment. In this paper, we present a novel approach for automatic generation of digital caricatures from facial photographs, which capture artistic deformation styles from hand-drawn caricatures. We introduced a pseudo stress-strain model to encode the parameters of an artistic deformation style using "virtual" physical and material properties. We have also developed a software system for performing the caricaturistic deformation in 3D which eliminates the undesirable artifacts in 2D caricaturization. We employed a Multilevel Free-Form Deformation (MFFD) technique to optimize a 3D head model reconstructed from an input facial photograph, and for controlling the caricaturistic deformation. Our results demonstrated the effectiveness and usability of the proposed approach, which allows ordinary users to apply the captured and stored deformation styles to a variety of facial photographs.
Full Text Available Jeremy Dennis is a photographer and visual artist living and working in Southampton, New York. He is a member of the Shinnecock Indian Nation; a federally recognised tribe of historically Algonquian-speaking Native Americans based at the eastern end of Long Island, New York. He received his MFA from Pennsylvania State University in 2016, and in the same year, was one of only two artists in the USA awarded the Harpo Native American Residency Fellowship. In his work, Jeremy channels his experiences as an indigenous artist to explore and expand upon issues relating to identity, assimilation and post-colonialism. Through a combination of digitally manipulated photography, site-specific installation, performance and documentation, Dennis attempts to create multi-dimensional conversations around local and broader contemporary Native American issues, whilst also referencing its rich and complex history. jeremynative.com
Amorino, Joseph S.
The decline of artistic expression in late childhood is an ongoing and well identified problem in the field of art education, yet it has been generally accepted as a natural occurrence and irreversible attribute of normative development. However, this foreclosure of artistic learning has serious implications to the concerns of emotional…
Stork, David G.
Stylometry in visual art-the mathematical description of artists' styles - has been based on a number of properties of works, such as color, brush stroke shape, visual texture, and measures of contours' curvatures. We introduce the concept of quantitative measures of lighting, such as statistical descriptions of spatial coherence, diuseness, and so forth, as properties of artistic style. Some artists of the high Renaissance, such as Leonardo, worked from nature and strove to render illumination "faithfully" photorealists, such as Richard Estes, worked from photographs and duplicated the "physics based" lighting accurately. As such, each had dierent motivations, methodologies, stagings, and "accuracies" in rendering lighting clues. Perceptual studies show that observers are poor judges of properties of lighting in photographs such as consistency (and thus by extension in paintings as well); computer methods such as rigorous cast-shadow analysis, occluding-contour analysis and spherical harmonic based estimation of light fields can be quite accurate. For this reasons, computer lighting analysis can provide a new tools for art historical studies. We review lighting analysis in paintings such as Vermeer's Girl with a pearl earring, de la Tour's Christ in the carpenter's studio, Caravaggio's Magdalen with the smoking flame and Calling of St. Matthew) and extend our corpus to works where lighting coherence is of interest to art historians, such as Caravaggio's Adoration of the Shepherds or Nativity (1609) in the Capuchin church of Santa Maria degli Angeli. Our measure of lighting coherence may help reveal the working methods of some artists and in diachronic studies of individual artists. We speculate on artists and art historical questions that may ultimately profit from future renements to these new computational tools.
For many centuries artists have considered and depicted illumination in art, from the effect of sunlight on objects at different times of the day, of shadows and highlights as cast by the moon, through indirect light as that through an open window or the artificial light of the candle or firelight. The presentation will consider artists who were fascinated by the phenomena of natural and artificial illumination and how they were able to render the natural world as a form of dynamic range through pigment. Artists have been long aware of the psychological aspects of the juxtaposition of colour in exploiting the optical qualities and arranging visual effects in painting and prints. Artists in the 16th century were attempting to develop an extended dynamic range through multi-colour, wood-block printing. Artists working at the height of naturalist realism in the 17th through the 19th century were fascinated by the illusory nature of light on objects. The presentation will also consider the interpretation of dynamic range through the medium of mezzotint, possibly the most subtle of printing methods, which was used by printers to copy paintings, and to create highly original works of art containing a dynamic range of tones.
Laura Sanz García
Full Text Available This article aims to delve into the aspects that connect both Spanish and French musicians and landscapers’ works around the cultural image of Spain, as well as the importance of gardens in the visual inspiration of impressionist music. For that purpose, the text presents an analysis of the thematic and stylistic parallelisms between two outstanding French artists, the composer Claude Debussy and the landscape architect Jean-Claude Nicolas Forestier, in relation to the Arab-Andalusian exotism and, more specifically, to the gardens of Granada. To their common interest in representing the authentic essence of all that is Spanish, one should add the same avant-garde intention and a series of themes that translate into artistic terms their personal interpretation of Al-Andalus. On the other hand, the infl uence exercised by Debussy and Forestier on the Spanish artists –such as Falla and Javier de Winthuysen–, relates France once more to the development of modern art and music in Spain. This interdisciplinary analysis reveals a common sensibility in the axis France Spain and between two artistic disciplines apparently uneven as music and gardening. Debussy and Forestier, as well as their Spanish “disciples”, intend to overcome the romantic images of Spain, using the Hispano-Arabic cliché to update their respective artistic languages, in music and landscape architecture, in the transition to the 20th century.
Full Text Available This short report describes a qualitative research colloquium in Swansea, UK, supported by AstraZeneca. The meeting was chaired by Frances RAPPORT and Paul WAINWRIGHT and was attended by 40 participants, representing a range of professional and academic backgrounds from the UK and beyond. The colloquium, built on the idea of links between new qualitative methodologies and the arts, sought to explore what happens when researchers and artists talk to one another; the premise was that qualitative research and the arts have much in common. Presentations from qualitative methodologists and artists were scheduled to run in parallel with one another. Artists and researchers were encouraged to discuss their work in terms of the productive process and expressive representation and to share applications and ideas. Recurrent themes centred on form, structure, content and meaning. The message that emerged from the two days was that the artistic creative process and qualitative research are inextricably bound up with these concerns. Artist and researcher take experience and seek to translate it into a form that others can in turn experience and interpret. This requires an engagement on the part of researcher and artist, a commitment to being truthful rather than being on a quest for truth. Qualitative research and the creative or performative process thus have strong similarities, of process and outcome. However, there are also fundamental differences in the social complexities of the two practices, their goals and purposes, and the intentions that lie behind them. Nevertheless, artists, performers and qualitative researchers appear to have much in common and the possibilities for future collaborations of this kind look very exciting. URN: urn:nbn:de:0114-fqs070358
Gelade, Garry A
Research has shown that creative style, as measured by the Kirton Adaption-Innovation Inventory (KAI; M. J. Kirton, 1976), is correlated with more than 30 different personality traits. In this article, the author demonstrates that many of these correlations can be understood within the framework of the Five-Factor Model of personality and shows that the predominant correlates of creative style are personality indicators in the domains of the factors Conscientiousness, Openness to Experience, and, to a lesser extent, Extraversion. These findings provide a basis for comparing the personality traits associated with creative style and occupational creativity. High scorers on the KAI (innovators) differ from both average and creative scientists but have personality characteristics similar to those of artists. This finding suggests that the artistic personality may be more common than is generally supposed and that common factors might underlie both artistic endeavor and creative style.
Full Text Available Structural development implies control and capability of the expression usage in terms of independent creative expression and making. Understanding of structural development of child's artistic expression as a phenomenon (which is suitable to child's age has some implications on methodical acts considering the artistic education of children and youngsters. Therefore, it is of unexceptional importance to know these laws as well as methodical acts which encourage the structural development of artistic capabilities from an early age. Various experts dealt with this phenomenon, particularly Bogomil Karlavaris. In his methodical research, he has given an unexceptional part to this problem. It has been a starting point for analysis of certain methodical questions which are included in this work.
This paper elaborates on the integration of academic and artistic methodologies within the field of art and technology. The term art and technology refers to a recognized research field and to higher education programmes, such as the BA program Art and Technology at Aalborg University. Art...... with and design of teaching designs aims at the description of a methodology and a heuristic for drafting concrete teaching designs....... and discovery. Koestler proposes the concept of bisociation for academic discoveries and artistic revealings alike by looking at the results of this creation (work of art, scientific discovery). However, my question is, whether the blending of academic and artistic discourses and methodologies––being a second...
Chen, Xiaowu; Jin, Xin; Wu, Hongyu; Zhao, Qinping
Lighting is a key factor in creating impressive artistic portraits. In this paper, we propose to analyze portrait lighting by learning templates of lighting styles. Inspired by the experience of artists, we first define several novel features that describe the local contrasts in various face regions. The most informative features are then selected with a stepwise feature pursuit algorithm to derive the templates of various lighting styles. After that, the matching scores that measure the similarity between a testing portrait and those templates are calculated for lighting style classification. Furthermore, we train a regression model by the subjective scores and the feature responses of a template to predict the score of a portrait lighting quality. Based on the templates, a novel face illumination descriptor is defined to measure the difference between two portrait lightings. Experimental results show that the learned templates can well describe the lighting styles, whereas the proposed approach can assess the lighting quality of artistic portraits as human being does.
Wang, Miaoyi; Wang, Bin; Fei, Yun; Qian, Kanglai; Wang, Wenping; Chen, Jiating; Yong, Jun-Hai
We present a novel artistic-verisimilitude driven system for watercolor rendering of images and photos. Our system achieves realistic simulation of a set of important characteristics of watercolor paintings that have not been well implemented before. Specifically, we designed several image filters to achieve: 1) watercolor-specified color transferring; 2) saliency-based level-of-detail drawing; 3) hand tremor effect due to human neural noise; and 4) an artistically controlled wet-in-wet effect in the border regions of different wet pigments. A user study indicates that our method can produce watercolor results of artistic verisimilitude better than previous filter-based or physical-based methods. Furthermore, our algorithm is efficient and can easily be parallelized, making it suitable for interactive image watercolorization.
Full Text Available Over the last few years, Augmented Reality (AR technology has quickly evolved and today there is commercial software and hardware that allow the creation of AR experiences. However, it might still be cumbersome to create rich AR experiences without a deep knowledge of the technology. Artists have collaborated with IT experts during the last few years in order to enhance artistic pieces embedding AR technology, leading to the emergence of interesting collaborations between artists and engineers, computer scientists, architects, etc. The resulting works can be referred as AR Art. However, the interdisciplinary work behind these collaborations is usually not addressed. The aim of this paper is to review some of the reported AR Art work since the AR term was first coined in 1990, focusing on collaborations between different disciplines, especially during the early years, where art and technology became one. Additionally, the author reports her own experience in contributing to AR Art from an interdisciplinary perspective.
Full Text Available Contemporary museum pedagogy is located spatially in museums and galleries, which represent an authentic space for art. Artistic artefacts on display constitute an excellent basis for the development of art appreciation among children and young people. This means that the role of museum educators is not limited merely to classification, managing and presentation of art collections, but is also focused on in-depth educational work. Museum pedagogy must follow the guidelines of contemporary art-pedagogical practice, based on the development of productive and receptive skills among pupils and students. The simultaneous development of both skills is a prerequisite for discussing the development of artistic abilities. In the perception and reception of works of art, participants reach their own individual artistic interpretations of the given works of art. The method of aesthetic transfer emerges as the most appropriate didactic approach.
Banerjee, Mita; Wohlmann, Anita; Dahm, Ralf
This article discusses the ways in which artists have incorporated or failed to incorporate the aging process of their bodies into their art. Using Russian ballet dancer Mikhail Baryshnikov and the French painter Claude Monet as cases in point, we explore situations in which physical changes brought about by aging compromises artists' ability to engage with their artistic medium. Connecting Monet's oeuvre and Baryshnikov's dance performances to life writing accounts, we draw on John Paul Eakin's concept of "living autobiographically": In this vein, life writing research does not only have to take into account concepts of identity as they emerge from life writing narratives, but it also needs to explore the somatic, corporeal and material dimensions of these narratives. Copyright © 2016. Published by Elsevier Inc.
Iñigo Sarriugarte Gómez
Full Text Available Under the experimental Fluxus and shaped by their attraction to certain premises of Zen Buddhism, including koan, many artists began to raise all kinds of proposals, from object-based practices to actions, but generally guided by the mental structure of zen koan itself, for example, irony, humor and meditative processes. These artists were able to give a previously nonexistent prominence both actions based on daily events, such as objects that had failed to interest social. In this way, they managed to eliminate many of the barriers between art and life.
Kromann, Thomas Hvid
The “artist’s book”, a distinctive and popular art form which appeared in the 1960s, replaced the white cube with the portable exhibition. Although anticipated by a few pioneers from the early avant-gardes, artists such as Åke Hodell made interesting contributions in the 1960s to the international...... field. The artist’s book, whether mass-produced or created as a limited edition, was a genuine cross-aesthetic artifact and it served as a vehicle for artistic ideas and concepts, sometimes by transgressing the codex of the book or by experimenting with its layout, binding and the fixed sequence...
Maria José Dozza Subtil
Full Text Available This paper presents reflections on initial education of Art teachers, prioritized knowledge in the curriculum and demands of school artistic practice, resulting from research performed with teachers from Parana State Public Network (Brazil, especially graduates with Music Teaching Degrees. Questions on education in Teaching Degrees are addressed - musical practice, pedagogical studies, training and relationship with the school, strengths and weaknesses of the curriculum and school artistic practice - planning, content and methodologies, demands of students and managers for Art classes. The purpose of this analysis was to collate education by teachers whilst adhering to school‟s demands, to discuss the challenges of teaching work in Art/Music in relation to different determinants that constitute it. Among other problems, data shows the difficulties for teachers in planning from the determinations of the Diretrizes Curriculares Estaduais - DCE (2009 (State Curricular Guidelines, which proposes actions within all artistic fields Music, Theater, Dance and Visual Arts and the effective practice with a view to the specific education in Music and Visual Arts Teaching Degrees. The resulting answers enabled problematization of the relationship between theory and practice of education/work of these teachers and pointed to the contradiction between artistic education as a pragmatic activity and the potentiality of aesthetic and humanizing education proclaimed by the Marxist perspective.
Full Text Available If the great Constantin Stanislavski said that the theatre starts from the cloak-room, today, in the era of broadcasting, we could reformulate the idea, confi rming that the theatre starts with the poster. Posters in the modern variant appeared with the emergence of the printing press. J. Gutenberg’s invention in 1453 became the beginning of the third information revolution, signifying a new stage in the evolution of commercials. Th e poster tradition has taken a new momentum in the nineteenth century. Let us remember such masters as the famous French painter Henri de Toulouse-Lautrec and the Czech Alphonse Mucha (who became popular thanks to the posters with Sarah Bernhardt, and who laid the foundation of the principles of the European theatre poster. The analysis of theatre posters from the Republic of Moldova, certifi es their evolution from text information to the artistic-aesthetic image, from the purely informative image to the suggestive-symbolic one. To exemplify these ideas, we will use posters created for the shows of the „Licurici” and „Guguţă” Puppet Th eatres. Th e authors’ purpose was to present in the foreground of the show the title and the main characters keeping the same style that arouses the attention and curiosity of children. The posters, that promote the meanings and symbols of the message, are increasingly required. So, in a symbolic key, are made the posters for the plays „Swan Flight” (by Andersen, „Făt-Frumos din lacrimă” (by Mihai Eminescu, directed by Nina Zabrodin; „Planeta de rouă” (by Grigore Vieru, directed by Ion Puiu, „Cămașa norocului”, directed by Tatiana Cojocaru etc. Currently the poster (theatre poster has become an art form and submits peculiar artistic regularities and peculiarities, requiring not only a high artistic level of achievement, but also a conceptual one.
Enyutina Ekaterina Dmitrievna
Transformation of a two-dimensional composition into a volumetric and spatial solution is based on the abstract art painting. Theoretical part of the style of the twenties laid the basic groundwork for this solution. The group "Unovis" under the supervision of Malevich aimed to create the "Suprematic Utilitarian World": the development of a new architecture, a new ornament and new forms of furniture, as well as a new type of a modern book. The theory of P. Mondrian and the group "Style" had a...
Sueli Terezinha de Abreu Bernardes
Full Text Available I write this article after remembering a visit to the collection of the Museum Art Center Queen Sofia , in Madrid, where I dwelt on the observation of the images created by the Spanish master in 1937. The masterpieces brought to memory another exhibition: “Picasso war years – 1937-1945”, in the Museum of Modern Art in Rio de Janeiro, in the now distant 1999. The experiences as a spectator touched me to such an extent, that I want to talk, not about the visits to the exhibitions, but through them. Thus, in an interdisciplinary attitude, use the support of Gaston Bachelard’s phenomenology and Susan Sontag’s counter-interpretation in order to reflect on the emotions felt.
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Full Text Available In this work, many criteria about the appreciation of visual arts and its dynamic are exposed, starting from the holism as a necessary reference for the professional formation of the education. Also many elements of essence and relation that characterize arts and its appreciation, and aspects within the visual artistic point of view are taking into account. Therefore they emerge as a main component to the development of future teachers, giving them the right tool in order to enrich the axiological knowledge for motivating the esthetic part the appropriation of the culture into the university context.
Creating and exchanging Artist Trading Cards (ATCs) has been a rapidly growing trend. These miniature works of art are fun to make--and even more fun to share. The intrigue of developing these handmade treasures begins with the intent of creating art simply for the love of art. In this article, the author describes how her students made their…
CHINA’s economic reform haspromoted cultuml exchanges ofchinese people with peoplesfrom other parts of the world,Folkdancing artists from the five continentsrevealed their customs,religious beliefsand history to the eyes of the Chineseaudience.From the great variety ofperformances people felt the humandevelopment,the happiness and theexpectation,the charm of dance and itsreflections on life.
Hansen, Louise Ejgod
In this article the question of artistic diversity is raised in connection to developments in cultural policy from the seventies until today. The case study of the Danish system of local theatres is used to examine some of the problems connected to this objective and its implementation as well...
An artist-educator examines her experience through the lens of constructivism. The author realized she needed to develop a plan for the art program at her school that would permeate the community, school culture, and the lives of students. Students needed skills, instruction, and a reason to make and appreciate art. The author developed a plan…
For the recent exhibition "Greater New York: New Art in New York Now," the Education Department at P.S.1 Contemporary Art Center, a large museum located in the Long Island City section of Queens, New York, organized a unique email-based discussion. The museum set up an e-mail address for most participating artists using the free…
"Art-Based Research" (McNiff, 1998a) introduced the idea of using artistic expressions by researchers as ways of knowing and methods of inquiry as distinguished from approaching art made by subjects as data which are interpreted by discursive methods, a practice that has been widely used in various disciplines studying human behaviour.…
Since its inauguration through the electronic connectedness of the whole world, Globalism has miniaturized the spatial immensity of the world by the conquest and ... our artistic products (just as our industrial manufactures) endure or survive this arena of sophisticated competition overhauled by the trade punditry and politics ...
Full Text Available Based on the field of aesthetics, for centuries philosophers and more recently scientists have been concerned with understanding the artistic experience focusing on emotional responses to the perception of artworks. By contrast, in the last decades, evolutionary biology has been concerned with explaining the artistic experience by focusing on the cognitive processes underlying this experience. Up until now, the cognitive mechanisms that allow humans to experience objects and events as art remain largely unexplored and there is still no conventional use of terms for referring to the processes which may explain why the artistic experience is characteristically human and universal to human beings (Dissanayake, 1992, p. 24; Donald, 2006, p. 4. In this paper, I will first question whether it is productive to understand the artistic experience in terms of perception and emotion, and I will subsequently propose a possible alternative explanation to understand this experience. Drawing upon the work of Ellen Dissanayake (1992, 2000, 2015, Merlin Donald (2001, 2006, 2013, Antonio Damasio (1994, 2000, 2003, 2010, Barend van Heusden (2004, 2009, 2010, and Alejandra Wah (2014, I will argue that this experience is characterized by particular degrees of imagination and consciousness.
Full Text Available This review refers to an artistic residency which took place at LCD LAB - CAAA at Guimarães, in March, exploring a strategy for media art called Media Displacement. The text introduces the strategy very briefly and describes the residency's organization, structure, processses and the results produced.
Full Text Available This paper identifies the parameters required to create opportunities that would strengthen the social fabric and would promote a comprehensive development through the artistic expression as a method for expressing feelings and constructing –cultural and social– identities as individuals, which, in our global context have been eroded by the homogenization of experiences.
Yoshio Nakajima is an interesting example of the globalisation of art. His education and early work as an artist took place in his native Japan, but continued in Europe where he has spent more than 30 years, mainly in provincial Sweden....
Abramzon, Tatiana E.; Rudakova, Svetlana V.; Zaitseva, Tatiana B.; Koz'ko, Natalia A.; Tulina, Ekaterina V.
In contemporary literary studies one can clearly observe the process of different interpretation of former approaches to literary works and artistic legacy of some outstanding authors. The attention of scientists is focused on such categories that can contribute to the reconstruction of a complete picture of the writing career of an individual…
Based on the field of aesthetics, for centuries philosophers and more recently scientists have been concerned with understanding the artistic experience focusing on emotional responses to the perception of artworks. By contrast, in the last decades, evolutionary biology has been concerned with
Cuartielles, David; Göransson, Andreas; Olsson, Tony
This paper investigates how artistic explorations can be useful for the development of mobile haptic technology. It presents an alternative framework of design for wearable haptics that contributes to the building of haptic communities outside specialized research contexts. The paper also present...
Full Text Available The following reaserch talks about a rural imaginary in the works of four visual artists from Holguín that take place between the XX century last years and the first of the XXI. It propose to revels the ways in which these artists abords aspects such as oral transmition narrations, costums, historic memories and new social dynamics. It values it place in the regionals artistics forms in asociation whit the etnocultural conformation.
Amongst these groups are various masquerade groups, dance troupes, comedians and local government areas floats. These floats host sculptures and other artistic elements. This paper is a documentation and analysis of the artistic elements in the carnival of the Rivers State of Nigeria. Keywords: Arts, artistic, elements, ...
Kapusuzoglu, Saduman; Dilekci, Umit
The purpose of the study is to develop the Artistic Supervision Model Scale in accordance with the perception of inspectors and the elementary and secondary school teachers on artistic supervision. The lack of a measuring instrument related to the model of artistic supervision in the field of literature reveals the necessity of such study. 290…
Referring to the work of Richard Sennett, this article puts forth the proposition that art production is possible only when there is a correct relation between theory and artistic practice. An effective artistic praxis can only be realized by incorporating theory in artistic practices. Based on empirical research, the author elaborates on the…
Full Text Available Artists are known to manage low income and work insecurity by holding multiple jobs. Through an analysis of interview data, this study explores the narratives of 20 visual artists in Sweden regarding breadwinning work. Positive and negative experiences of such work are analyzed in relation to the artists’ work behavior and identity as either ‘bohemian’ or ‘entrepreneurial.’ Breadwinning work may be seen by artists as either enabling autonomy from the market or hindering the construction of a professional identity, depending on these behaviors/identities. However, conditions such as low wage, temporary contracts, and low control over work hours ultimately decides artist’s experiences of breadwinning work. This article adds to the existing knowledge on artistic labour markets by highlighting the role of multiple job holding in mediating between an understanding of the bohemian art for art’s sake artist role and the entrepreneurial role of the artist. NB: The endnotes 7 and 8 have switched places, where endnote 7 should belong to the text of endnote 8 and vice versa
Allen, Thomas E.; Letteri, Amy; Choi, Song Hoa; Dang, Daqian
A brief review is provided of recent research on the impact of early visual language exposure on a variety of developmental outcomes, including literacy, cognition, and social adjustment. This body of work points to the great importance of giving young deaf children early exposure to a visual language as a critical precursor to the acquisition of…
Allen, Thomas E; Letteri, Amy; Choi, Song Hoa; Dang, Daqian
Brief review is provided of recent research on the impact of early visual language exposure on a variety of developmental outcomes, including literacy, cognition, and social adjustment. This body of work points to the great importance of giving young deaf children early exposure to a visual language as a critical precursor to the acquisition of literacy. Four analyses of data from the Visual Language and Visual Learning (VL2) Early Education Longitudinal Study are summarized. Each confirms findings from previously published laboratory findings and points to the positive effects of early sign language on, respectively, letter knowledge, social adaptability, sustained visual attention, and cognitive-behavioral milestones necessary for academic success. The article concludes with a consideration of the qualitative similarity hypothesis and a finding that the hypothesis is valid, but only if it can be presented as being modality independent.
Demir, I.; Krajewski, W. F.
As geoscientists are confronted with increasingly massive datasets from environmental observations to simulations, one of the biggest challenges is having the right tools to gain scientific insight from the data and communicate the understanding to stakeholders. Recent developments in web technologies make it easy to manage, visualize and share large data sets with general public. Novel visualization techniques and dynamic user interfaces allow users to interact with data, and modify the parameters to create custom views of the data to gain insight from simulations and environmental observations. This requires developing new data models and intelligent knowledge discovery techniques to explore and extract information from complex computational simulations or large data repositories. Scientific visualization will be an increasingly important component to build comprehensive environmental information platforms. This presentation provides an overview of the trends and challenges in the field of scientific visualization, and demonstrates information visualization and communication tools developed within the light of these challenges.
Anauate, Maria Cristina; Bahia, Valéria Santoro; Nitrini, Ricardo; Radanovic, Marcia
Several studies have addressed visuospatial and executive skills in artistic activities in Frontotemporal Lobar Degeneration (FTLD) and Alzheimer's disease (AD). To investigate the performance of FTLD patients compared to controls on two artistic tasks. Four FTLD patients with mean age of 57 (8.7) years and schooling of 12.2 (4.5) years plus 10 controls with mean age of 62.9 (8.6) years and schooling of 12.3 (4.6) years, were assessed using the Lowenstein Occupational Therapy Cognitive Assessment (LOTCA) and by a three-stage artistic protocol including visual observation, copying and collage, based on a Sisley painting. FTLD patients had lower scores than controls on Visuospatial Perception, Copy, Collage, Examiner's Observation, and Total, showing distinct patterns of performance according to FTLD sub-type: semantic PPA, nonfluent PPA and bvFTD. FTLD patients presented impairment in the visuospatial and executive skills required to perform artistic tasks. We demonstrated that the application of the instrument as a complimentary method for assessing cognitive skills in this group of patients is possible. Further studies addressing larger and more homogeneous samples of FTLD patients as well as other dementias are warranted.
The present article hints at a curious neurocognitive phenomenon of development of artistic talents in some children with dyslexia. The article also takes note of the phenomenon of creating in the midst of language disability as observed in the lives of such creative people like Leonardo da Vinci and Albert Einstein who were most probably affected with developmental learning disorders. It has been hypothesised that a developmental delay in the dominant hemisphere most likely 'disinhibits' the non-dominant parietal lobe to unmask talents, artistic or otherwise, in some such individuals. The present hypothesis follows the phenomenon of paradoxical functional facilitation described earlier. It has been suggested that children with learning disorders be encouraged to develop such hidden talents to full capacity, rather than be subjected to overemphasising on the correction of the disturbed coded symbol operations, in remedial training.
How artists learn to love architects Prof. Walter Unterrainer Aarhus School of Architecture Over the last two decades, innumerable new museums and other exhibition spaces have been built and opened all over the globe. The most extreme growth happened in China, where the number of museums went up...... surprises: in many cities, the buildings for art are much better known and more published than the art they accommodate. A lot of them are considered as artistic objects. This raises two questions: How much is architecture itself a form of arts? - but more relevant: what are appropriate architectural spaces...... art and even do not fulfil basic technical aspects in terms of a consistent indoor climate, optimized lighting or safety. The lecture focuses on inspiring examples of spaces for art, where famous (Renzo Piano, Peter Zumthor) or not so famous (Heinz Tesar, Gigon and Guyer) architects have designed...
In 2008, for 3 months, a visual artist in residence at the Margency children's hospital (Val d'Oise) made sculptures for the bandstand situated in the hospital's park. By bringing people together this experience helped to create a bond between the artists, the hospitalised children and the healthcare workers.
The frontiers of contemporary Nigerian art are expanding as ethnic traditions have continued to evolve in individual genius which gives it expression. In the visual art of Uche Okeke, we see a synthesis of old and new, hence a perpetuation of old artistic Nigeria traditions in modern artistic sensibility. Although a great deal ...
Sally Price; Sally Price
[First paragraph] Caribbean Art. VEERLE POUPEYE. London: Thames and Hudson, 1998. 224 pp. (Paper US$ 14.95) Transforming the Crown: African, Asian and Caribbean Artists in Britain, 1966-1996. MORA J. BEAUCHAMP-BYRD & M. FRANKLIN SIRMANS (eds.). New York: Caribbean Cultural Center, 1998. 177 pp. (Paper US$ 39.95, £31.95) "Caribbean" (like "Black British") culture is (as a Dutch colleague once said of postmodernism) a bit of a slippery fish. One of the books under ...
Full Text Available [First paragraph] Caribbean Art. VEERLE POUPEYE. London: Thames and Hudson, 1998. 224 pp. (Paper US$ 14.95 Transforming the Crown: African, Asian and Caribbean Artists in Britain, 1966-1996. MORA J. BEAUCHAMP-BYRD & M. FRANKLIN SIRMANS (eds.. New York: Caribbean Cultural Center, 1998. 177 pp. (Paper US$ 39.95, £31.95 "Caribbean" (like "Black British" culture is (as a Dutch colleague once said of postmodernism a bit of a slippery fish. One of the books under review here presents the eclectic artistic productions of professional artists with Caribbean identities of varying sorts - some of them lifelong residents of the region (defined broadly to stretch from Belize and the Bahamas to Curacao and Cayenne, some born in the Caribbean but living elsewhere, and others from far-away parts of the world who have lingered or settled in the Caribbean. The other focuses on artists who trace their cultural heritage variously to Lebanon, France, Malaysia, Spain, China, England, Guyana, India, the Caribbean, the Netherlands, the Philippines, and the whole range of societies in West, East, and Central Africa, all of whom meet under a single ethnic label in galleries in New York and London. Clearly, the principles that vertebrate Caribbean Art and Transforming the Crown are built on the backs of ambiguities, misperceptions, ironies, and ethnocentric logics (not to mention their stronger variants, such as racism. Yet far from invalidating the enterprise, they offer an enlightening inroad to the social, cultural, economic, and political workings of artworlds that reflect globally orchestrated pasts of enormous complexity.
Full Text Available The paper presents the technology and organization of the artistic cast production. On the basis of the actual cast production system, the manufacturing process was shown, in particular sand–piece moulding, which is a very important process and a time-consuming part of the entire manufacture of the casts. The current state of the production process as well as the organization of the work and production technology were analysed with the use of methods and techniques of production improvement, the Lean Manufacturing concept and computer systems. The results of the analysis and studies were shown with use of schemes and graphs of the layout of the production resources, a flow chart of the production process, value stream mapping, and a costs table for the production and modernization of the moulding stage. The work has shown that there are possibilities to improve the artistic cast production system. This improvement leads to increased productivity, lower production costs of artistic casts and increased competitiveness of the foundry.
Handy, Richard; McCague, Thomas; Rix, Erika; Russell, Sally
Soon after you begin studying the sky through your small telescope or binoculars, you will probably be encouraged by others to make sketches of what you see. Sketching is a time-honored tradition in amateur astronomy and dates back to the earliest times, when telescopes were invented. Even though we have lots of new imaging technologies nowadays, including astrophotography, most observers still use sketching to keep a record of what they see, make them better observers, and in hopes of perhaps contributing something to the body of scientific knowledge about the Moon. Some even sketch because it satisfies their artistic side. The Moon presents some unique challenges to the astronomer-artist, the Moon being so fond of tricks of the light. Sketching the Moon: An Astronomical Artist’s Guide, by five of the best lunar observer-artists working today, will guide you along your way and help you to achieve really high-quality sketches. All the major types of lunar features are covered, with a variety of sketching te...
It has become a regular appointment for CERN people: the exhibition of naive and beautiful works made by young artists from the CERN nursery school. Physicists? Pianists? Teachers? They still don't know what they will be... some of them can hardly speak. But one thing's for sure CERN gives them the chance to discover and express their artistic aptitudes. And once a year they can proudly show their works to all CERN people. We are talking about children from le nursery school run by the CERN Staff Association, who are the creators of amazing works currently on display in the Main Building. To prepare for this very important appointment each class of young artists from 2 to 6 years old, have been hard at work for several months. Des élèves du Jardin d'enfants de 5 ans devant l'une de leurs oeuvres, un dinosaure en carton. Working together to express themselves in creative activities, such as drawing, pottery, music, musical movement, games, arts, and craftwork, children from all over the...
DiMaio, Salvatore; Discepola, Federico; Del Maestro, Rolando F
THE FASCICULUS MEDICINA, printed in 1491, is considered the first illustrated medical book. The Latin essays and illustrations in this volume provide insight into the medical knowledge of Western Europe and, in the Italian edition published in 1493, glimpses into the medical culture of the late 15th century. We outline the scientific and social environments into which the Fasciculus Medicinae of 1491 was introduced and the transition that occurred with the publication of the 1493 Italian edition. The artist of the 1493 Fasciculo witnessed a paradigm shift occurring. In four woodcuts, the artist captured four themes: the relevance of knowledge-based medicine, the emergence of laboratory medicine, the Hippocratic lessons of patient observation, and the emerging revolution in anatomy.
Oliveira, S.; Richardson, M.
The use of holographic technologies in the past has faced resistance in the artistic field. The most conservative artists and critiques saw the term "holographic" more as a technical subject than an artistic one. Nevertheless, to explore new forms to create art has been a constant challenge for any artist, whatever their field. At the end of the 20-century the concept that art can explore any field or subject, create a vision that is somehow technological, is part of the evolving artistic world. In the last two decades, in the search for new terminologies, scientists and artists have used the expression "Holographic" as a synonym of evolution, but with different meanings. Artists are using it as a new form of art call "Holo Art"; scientists see it as a "new" science technique where light takes an important part in the process, and can be used in various aspects of daily life, such as, security and medicine. This paper will explore artists who take the challenge of combining their art with new technologies and how they are viewed in a world where the question of 'what is and what isn't art' is very debatable. Other questions that will be explored are 'How can these techniques be useful to artists?' and 'How do artists challenge themselves to analyse the pros and cons of the results that can be obtained?'
Carlesi, Serena; Bartolozzi, Giovanni; Cucci, Costanza; Marchiafava, Veronica; Picollo, Marcello
A comprehensive understanding of both the chemical composition and physical behaviour of modern materials is an important consideration in devising correct conservation treatments for contemporary artworks. To this end, national and international research projects and networks have been established that deal mainly with the preservation, conservation, and understanding of materials used by contemporary artists. This paper focuses on the self-taught artist Fernando Melani (1907-1985), one of the precursors of the Poor Art artistic movement in Italy, and for the first time provides a scientific viewpoint on the artist's materials and works. The analyses, which mainly focus on the pigments/dyes found in his home-studio, were carried out primarily by using Fourier Transform Infrared Spectroscopy (FT-IR) and ultraviolet, visible, and near-infrared Fibre Optic Reflectance Spectroscopy (UV-Vis-NIR FORS). This paper emphasises the performance of FT-IR and FORS in the identification of contemporary artistic materials, since these two techniques have been found to produce highly complementary data. The use of both of these was required in order to obtain a comprehensive understanding of the composition of Melani's materials. Furthermore, one of his artworks, named by Melani himself with its inventory number N. Inv. 2625 (1981), was investigated in situ with the sole use of the FORS technique. The results showed that Melani used traditional inorganic pigments as well as modern organic dyes. Calcite and barite were used as fillers and extenders. Sulphur and abrasive powder were also found, thus confirming his use of a large variety of non-conventional artists' materials.
Carlesi, Serena; Bartolozzi, Giovanni; Cucci, Costanza; Marchiafava, Veronica; Picollo, Marcello
A comprehensive understanding of both the chemical composition and physical behaviour of modern materials is an important consideration in devising correct conservation treatments for contemporary artworks. To this end, national and international research projects and networks have been established that deal mainly with the preservation, conservation, and understanding of materials used by contemporary artists. This paper focuses on the self-taught artist Fernando Melani (1907-1985), one of the precursors of the Poor Art artistic movement in Italy, and for the first time provides a scientific viewpoint on the artist's materials and works. The analyses, which mainly focus on the pigments/dyes found in his home-studio, were carried out primarily by using Fourier Transform Infrared Spectroscopy (FT-IR) and ultraviolet, visible, and near-infrared Fibre Optic Reflectance Spectroscopy (UV-Vis-NIR FORS). This paper emphasises the performance of FT-IR and FORS in the identification of contemporary artistic materials, since these two techniques have been found to produce highly complementary data. The use of both of these was required in order to obtain a comprehensive understanding of the composition of Melani's materials. Furthermore, one of his artworks, named by Melani himself with its inventory number N. Inv. 2625 (1981), was investigated in situ with the sole use of the FORS technique. The results showed that Melani used traditional inorganic pigments as well as modern organic dyes. Calcite and barite were used as fillers and extenders. Sulphur and abrasive powder were also found, thus confirming his use of a large variety of non-conventional artists' materials. Copyright © 2012 Elsevier B.V. All rights reserved.
Gaines, R; Price-Williams, D
A study is presented comparing the imaginative modes of American and Balinese artists. Strict survey comparison has not been possible owing to the lack of certain artistic types in the comparative culture and smallness of sample. By using an interview approach, a paradigmatic difference between the artistic members of the two cultures can be demonstrated. In American artists there is a more individualistic approach to creative imagery, with a stronger reliance on their dreams. In Balinese artists the creative endeavor is more collective, depending on more conscious imagery drawn from myths and common beliefs. The difference is correlated with the philosophical and cultural settings of each society in which the artist is embedded. Exemplar statements from interviews are presented to illustrate and support these propositions. Finally, it has been suggested that creative imagery should also be viewed in the perspective of differing concepts of self in the two societies.
concept of synthesis unconsciously in his early development as a visual artist. .... Uli Ije agwo (snake movement) motif has been used to pattern the ... This music- .... Nigeria, which centre on the recurrent death of spirit- children called Oghanje.
Kozbelt, Aaron; Ostrofsky, Justin
We discuss how the psycho-historical framework can be profitably applied to artistic production, facilitating a synthesis of perception-based and knowledge-based perspectives on realistic observational drawing. We note that artists' technical knowledge itself constitutes a major component of an artwork's historical context, and that links between artistic practice and psychological theory may yet yield conclusions in line with universalist perspectives.
Van Dover, C. L.
The deep ocean is to most of us a place unknown. Few of us experience the sea far from shore, fewer still dive to the seafloor at great depths. When scientists report on the outcome of deep-ocean exploration, their technical prose captures facts and insights, but fails to capture the emotional power of place and process. Through batik, watercolor illustrations, music, digital art, cartoon, and experimental video, six artists have created a portfolio of work that communicates the human experience of the deep ocean.
At present, the sports dance has entered every stage of the people’s life, has become the public’s favorite sport. Sports dance has been well developed. This article mainly uses the literature material law to carry on the detailed analysis to the sports dance constitution, elaborated in detail the sports dance artistic expression. The composition of sports dance elements; sports dance is a form of dance art show; sports dance through the dance art can be divided into three aspects, namely, fo...
Full Text Available This article presents a series of reflections on the experience of curating the exhibition ‘Alfred Drury and the New Sculpture’ in 2013. In particular, it charts the evolution of the design of the exhibition, notably its central tableau based on a photograph of the sculptor Alfred Drury’s studio in 1900. This photograph records a display of Drury’s works for visiting Australian patrons, and could be said to record evidence of the artist curating his own work. The legitimacy of deriving a curatorial approach from this photographic evidence is discussed, along with the broader problem of ‘historicizing’ approaches to curating.
Full Text Available What lineage connects early abstract films and machine-generated YouTube videos? Hans Richter’s famous piece Rhythmus 21 is considered to be the first abstract film in the experimental tradition. The Webdriver Torso YouTube channel is composed of hundreds of thousands of machine-generated test patterns designed to check frequency signals on YouTube. This article discusses geometric abstraction vis-à-vis new vision, conceptual art and algorithmic art. It argues that the Webdriver Torso is an artistic marvel indicative of a form we call mathematical abstraction, which is art performed by computers and, quite possibly, for computers.
This is an artist's rendition of an antimatter propulsion system. Matter - antimatter arnihilation offers the highest possible physical energy density of any known reaction substance. It is about 10 billion times more powerful than that of chemical engergy such as hydrogen and oxygen combustion. Antimatter would be the perfect rocket fuel, but the problem is that the basic component of antimatter, antiprotons, doesn't exist in nature and has to manufactured. The process of antimatter development is on-going and making some strides, but production of this as a propulsion system is far into the future.
José Alberto Gomes
Full Text Available URB is a research project designed to collect and store raw data from soundscapes analysis. This paper presents a survey about using URB based on the analysis of work developed by several artists, focusing on the description of their creative process and outcome. By comparing the processes and statements of each artists, the authors identified diverse systematic approaches to reinterpreting raw data provided by urban soundscapes, raising questions about the artistic outcomes vs original sound sources. Furthermore, some considerations are inferred about the artistic relevance of using this process in the creation process.
Caris, Arthur; Cowell, Gillian
This article addresses the question of how artists may recognise art as a public pedagogy whilst staying detached from the role of teacher in the traditional sense. We report on three art practices of citizens engaging in "situation art" to support and illustrate a few theoretical concepts derived from Biesta's theory of public pedagogy.…
Nguyen, Quang Vinh; Zhang, Kang; VINCI'09
Visual Information Communication is based on VINCI'09, The Visual Information Communications International Conference, September 2009 in Sydney, Australia. Topics covered include The Arts of Visual Layout, Presentation & Exploration, The Design of Visual Attributes, Symbols & Languages, Methods for Visual Analytics and Knowledge Discovery, Systems, Interfaces and Applications of Visualization, Methods for Multimedia Data Recognition & Processing. This cutting-edge book addresses the issues of knowledge discovery, end-user programming, modeling, rapid systems prototyping, education, and design activities. Visual Information Communications is an edited volume whose contributors include well-established researchers worldwide, from diverse disciplines including architects, artists, engineers, and scientists. Visual Information Communication is designed for a professional audience composed of practitioners and researchers working in the field of digital design and visual communications. This volume i...
Natália Batista Albuquerque GOULART
Full Text Available Abstract The purpose of this study was to investigate the injuries prevalence in men elite artistic gymnasts. Twenty Brazilian senior gymnasts, aged 23.1 ± 6.5 years, 13.9 ± 5.0 years of practice and 36.5 ± 4.7 hours per week training, participated in this study. The athletes answered a morbidity questionnaire, formulated according to studies from the literature, for information on the injuries’ characteristics and circumstances. Information about the injury circumstances (gymnastic apparatus, overload training and physical exercises, the anatomic site injured, the affect biological tissue and the return to training after injury treatment were evaluated. Data were analyzed by descriptive statistics, absolute and relative frequencies. The training overload, and floor, pommel horse and vault were the events that presented higher injuries frequency. In relation to anatomic site, ankle, hands/fingers and shoulder were the most cited regions. The ligament, bone and articular capsule were the most affected biological tissues. In relation to gymnasts’ return to their sports activities, 56% of them reported a better condition at return, 33% reported to have returned at the same fitness level and 10% indicated that they were in a worse condition when they returned to the sports activities. The men’s artistic gymnastics injuries are related to the mechanical demands of this sport. The analysis of risk factors helps in understanding the injuries mechanisms in gymnastics, and provides relevant information that can assist in effective prevention strategies.
Hayes, Susan; Rheinberger, Nick; Powley, Meagan; Rawnsley, Tricia; Brown, Linda; Brown, Malcolm; Butler, Karen; Clarke, Ann; Crichton, Stephen; Henderson, Maggie; McCosker, Helen; Musgrave, Ann; Wilcock, Joyce; Williams, Darren; Yeaman, Karin; Zaracostas, T S; Taylor, Adam C; Wallace, Gordon
An artist-led exploration of portrait accuracy and likeness involved 12 Artists producing 12 portraits referencing a life-size 3D print of the same Sitter. The works were assessed during a public exhibition, and the resulting likeness assessments were compared to portrait accuracy as measured using geometric morphometrics (statistical shape analysis). Our results are that, independently of the assessors' prior familiarity with the Sitter's face, the likeness judgements tended to be higher for less morphologically accurate portraits. The two highest rated were the portrait that most exaggerated the Sitter's distinctive features, and a portrait that was a more accurate (but not the most accurate) depiction. In keeping with research showing photograph likeness assessments involve recognition, we found familiar assessors rated the two highest ranked portraits even higher than those with some or no familiarity. In contrast, those lacking prior familiarity with the Sitter's face showed greater favour for the portrait with the highest morphological accuracy, and therefore most likely engaged in face-matching with the exhibited 3D print. Furthermore, our research indicates that abstraction in portraiture may not enhance likeness, and we found that when our 12 highly diverse portraits were statistically averaged, this resulted in a portrait that is more morphologically accurate than any of the individual artworks comprising the average.
Selin, Cynthia Lea
Emerge: Artists and Scientists Redesign the Future, hosted by Arizona State University in 2012, united artists, engineers, bioscientists, social scientists, storytellers and designers to build, draw, write and play with the future. Over three days, and in nine different workshops, participants cr...
James, A. Everette, Jr.
Reviews "An Artist in the University Medical Center" (M. Lesser, New Orleans: Tulane University Press, 1989), in which the artist captures the human side of the complex Tulane Medical Center in New Orleans (Louisiana). The interplay of drawings, etchings, watercolors, and prose conveys traditions of nurturing in the hospital. (SLD)
This article considers how primary teachers can learn from the practice of artists in their own teaching of art. Fundamental to artistic practice is the notion of practising with various materials and tools. In the article I look at some children's images, as well as scrutinising some statements made by the painter Francis Bacon. The practices of…
Cherry, D.; Helland, J.
Local/Global: Women Artists in the Nineteenth Century is the first book to investigate women artists working in disparate parts of the world. This major new book offers a dazzling array of compelling essays on art, architecture and design by leading writers: Joan Kerr on art in Australia by
The theatre artist's dilemma in the task of rebranding Nigeria: Defining the modes of engagement. ... The project of re-branding Nigeria for positive development places the artist in a great dilemma seeing that the happenings in society form the content and subject matter of his/her work. Where the events in society are ...
Autry, Linda L.; Walker, Mary E.
The authors conducted a qualitative study on the use of artistic representation to promote students' creativity and enhance their ability to self-reflect. The researchers used self-reflection articles about artistic representation and responses to a questionnaire at the end of the semester. Three overarching themes, as seen through the lens of the…
Literary artists have advanced human ways of life through their writings. Hence, literature as a work of art merely lends credence to these persuasions by literary artists. It is possible to describe 'Culture' as the art, literature, music and other intellectual expressions of a particular society or time. Therefore, literature being an ...
In terms of section 16(1)(c) of the South African Constitution, Act 108 of 1996, artistic creativity is regarded as a manifestation of freedom of expression. However, unbridled artistic expression can sometimes go to the extremes of repulsiveness. For example, art, which takes on the form of pornography, can for instance be an ...
This research starts by analysing the current state of artistic heritage in Italy and studying some examples in Europe: we try to investigate the scope of non-formal learning in artistic context, mediated by advanced technology. The framework within which we have placed our investigation is that of lifelong learning and lifedeep learning. The…
Full Text Available The 2009 Andrew Tannahill Lecture This lecture explores the rich relationship between Scottish writing and visual art. This extends from visual responses to Macpherson, Burns and Scott to artists working with Gaelic poetry in our own time. While the focus is on Scottish art the effect of Scottish literature on visual art internationally is also to be noted.
Shrier, Ian; Hallé, Madeleine
To explore the relationship between potential psychological risk factors and injury risk in circus artists. Historical cohort study. Cirque du Soleil training programme. Forty-seven circus artists training to become Cirque du Soleil artists. Artists completed the validated REST-Q questionnaire (19 domains) during their first 2 weeks of training. Injury risk ratio. Of the five a priori exposures of interest, injury, emotional exhaustion, self-efficacy and fatigue were associated with an increase in injury risk (risk ratios between 1.8 and 2.8), but Conflicts/Pressure was not (risk ratio=0.8). Of the several specific psychological aspects that are considered risk factors for injury, low self-efficacy had the strongest relationship. Most of the strong psychological risk factors for injuries previously identified in athletes also appear to be risk factors in circus artists.
A. A. Kalashnikova
Full Text Available The article deals with the artist-genius myth as a brand study from the perspective of the sociology of art. The mythological structure of the brand analysis is been undertaken. It reveals the essence of the artist-genius myth as a brand on the art market. The social and historical origins of features considered as professional for the artist are been examined. The marginality, poverty, uniqueness of the artist’s talents are considered as the fundamentals of the artistic brand. The branding marketing techniques functioning in the context of the art production field are been described. Findings of the research relate to the features of the “artist-genius” brand mythological foundation current state and possibilities for its further improvement.
Full Text Available This article applies principles of new historicism to show that A Sport of Nature can be read as Gordimer's attempt to persuade South African artists to reject mere protest art and to shift art beyond the trap of oppositional forces in South Africa's history today. The text calls instead—via fiction and the imagination—for a new post-apartheid art that will generate creative possibilities for a future South Africa. Gordimer's protagonist, Hillela Capran, is read as a metaphor for the white South African artist who, like Hillela, struggles for an authentic identity and meaningful role in the evolving history of South Africa. This paper asserts that A Sport of Nature boldly proposes the mutation necessary for the South African artist and people to resolve the political, personal, or artistic fragmentation, beckoning other artists along the path. Hope of its assured success, however, remains as elusive and unpredictable as any "sport of nature" must be.
Full Text Available Michael Haneke's (2012 film Amour is used as a point of departure for discussing a spectrum of artistic representations of "old love," a phenomenon that is still little understood. While most critics have focused on euthanasia when referring to the film's dramatic climax, its late-life perspective of love has been marginalized. Analyzing Amour, as well as other recent cinematic and poetic texts, we challenge the widespread midlife and ageist perception of "April love," contrasting it with different views from within old love. Our reading of Amour illustrates the effects of intense, all-encompassing, and sealed intimacy in advanced old age and sheds light on potential consequences it may have on the decisions and lives of the people involved. We conclude by discussing how certain forms of love, seen from within, unfold in tandem with age or life phases that affect the pace, emotional, and interpersonal nature of the partnership.
Valo, T S
The challenge of developing a pleasing smile is an artistic venture. A study of how the visual arts have explored the nature of beauty and the elements of artistic composition will enhance our artistic abilities in cosmetic dentistry. This review discusses the perception of beauty and important features of that which we call beautiful. The discussion uses important works of art to demonstrate elements of composition, which are then made relevant in a dental application.
Chamberlain, Rebecca; Wagemans, Johan
Observational drawing skill has been shown to be associated with the ability to focus on local visual details. It is unclear whether superior performance in local processing is indicative of the ability to attend to, and flexibly switch between, local and global levels of visual stimuli. It is also unknown whether these attentional enhancements remain specific to observational drawing skill or are a product of a wide range of artistic activities. The current study aimed to address these questions by testing if flexible visual processing predicts artistic group membership and observational drawing skill in a sample of first-year bachelor's degree art students (n=23) and non-art students (n=23). A pattern of local and global visual processing enhancements was found in relation to artistic group membership and drawing skill, with local processing ability found to be specifically related to individual differences in drawing skill. Enhanced global processing and more fluent switching between local and global levels of hierarchical stimuli predicted both drawing skill and artistic group membership, suggesting that these are beneficial attentional mechanisms for art-making in a range of domains. These findings support a top-down attentional model of artistic expertise and shed light on the domain specific and domain-general attentional enhancements induced by proficiency in the visual arts. Copyright © 2015 Elsevier B.V. All rights reserved.
In its form, sculpture reveals not only the artist's self-expression but also the transformative qualities through which it influences our senses. Frequent interactions with sculpture can provide creative awareness, which in turn leads to a better understanding and appreciation of artistic expressions. This paper examines possible ways in which the creative potential of people with dementia can be explored through meaningful artistic engagement with sculpture-making processes. A study was conducted involving seven participants diagnosed with the early stages of dementia who engaged and experimented with different types of sculpture-making processes, from clay and papier mâché to virtual and digital sculptures. In the collective and collaborative environment of the group sessions, the creative responses of the participants to each process were unique. Each sculpture created by the participants enfolded their self-initiated ideas and stories reflecting the conscious expressions of their presence in a particular time and space. This paper argues that while cognitive impairment may affect the behavioural, visual and perceptual abilities of people with dementia, there is ample evidence to suggest that the viewing and making sculpture may influence the sensory involvement and consequently the imagination and creativity of people with early stage dementia.
Buhl, Mie; Flensborg, Ingelise
The intrinsic breadth of various types of images creates new possibilities and challenges for visual education. The digital media have moved the boundaries between images and other kinds of modalities (e.g. writing, speech and sound) and have augmented the possibilities for integrating the functi......The intrinsic breadth of various types of images creates new possibilities and challenges for visual education. The digital media have moved the boundaries between images and other kinds of modalities (e.g. writing, speech and sound) and have augmented the possibilities for integrating...... to emerge in the interlocutory space of a global visual repertoire and diverse local interpretations. The two perspectives represent challenges for future visual education which require visual competences, not only within the arts but also within the subjects of natural sciences, social sciences, languages...
Full Text Available The aim of this research was to determine the problems in education (primary, secondary and undergraduate academic studies, employment and social integration of hard of hearing artists based on a multiple case study. The sample consisted of 4 examinees of both genders, aged between 29 and 54, from the field of visual arts (a painter, a sculptor, a graphic designer, and an interior designer. The structured interview consisted of 30 questions testing three areas: the first area involved family, primary and secondary education; the second area was about the length of studying and socio-emotional problems of the examinees; the third area dealt with problems in employment and job satisfaction of our examinees. Research results indicate the existence of several problems which more or less reflect the success in education, employment and social integration of hard of hearing artists. One of the problems which can influence the development of language abilities, socioemotional maturity, and better educational achievement of hard of hearing artists in general, is prolongation in diagnosing hearing impairments, amplification and auditory rehabilitation. Furthermore, parents of hard of hearing artists have difficulties in adjusting to their children's hearing impairments and ignore the language and culture of the Deaf, i.e. they tend to identify their children with typically developing population. Another problem are negative attitudes of teachers/professors/employers and typically developing peers/ colleagues towards the inclusion of hard of hearing people into the regular education/employment system. Apart from that, unmodified instruction, course books, information, school and working area further complicate the acquisition of knowledge, information, and the progress of hard of hearing people in education and profession.
Full Text Available The present paper explores the idea that learning, both in and out of school, is a cultural act, and that school and its cultural-heritage environment stamp their own characteristics on pupils. This implies that pupils gradually, with the help of teachers and other relevant adults from their close social environment, develop and adjust their behaviour and lifestyle to their cultural and civilisational milieu. An integrative approach to learning and teaching, through the concept of “learning-centred teaching”, can be instrumental in this regard (Terhart, 2001. This approach aims at linking cognitive, social and moral teachings. According to this teaching concept, pupils learn to appreciate the value of their cultural-heritage environment by living and reliving its experience, while freely and reflexively nterpreting and becoming active participants in the culture of those who “learn about life by living” (Terhart, 2001. The relationship between school and its cultural-heritage environment is discussed from a creative and artistic perspective in the second part of the paper. By visually stimulating artistic expression when learning about the culturalheritage and natural environment of school, and through the concept of “action-centred learning”, we explain how pupils can be motivated to learn and display creative-artistic expression, and how they can be actively involved in their communities (participating in organising art exhibitions in their neighbourhood, working in museum workshops, etc.. Pupils’ art projects, inspired by the historical, cultural and natural heritage of their environment, confirm that such projects are an effective way of encouraging pupils’ identity development and sensitivity towards the arts. They teach pupils about the importance of preserving cultural heritage, which is one of the basic principles in the upbringing of future participants and creators of new cultural values. Children’s artistic works
Sengupta, Rakesh; Surampudi, Bapi Raju; Melcher, David
It has been proposed that the ability of humans to quickly perceive numerosity involves a visual sense of number. Different paradigms of enumeration and numerosity comparison have produced a gamut of behavioral and neuroimaging data, but there has been no unified conceptual framework that can explain results across the entire range of numerosity. The current work tries to address the ongoing debate concerning whether the same mechanism operates for enumeration of small and large numbers, through a computational approach. We describe the workings of a single-layered, fully connected network characterized by self-excitation and recurrent inhibition that operates at both subitizing and estimation ranges. We show that such a network can account for classic numerical cognition effects (the distance effect, Fechner׳s law, Weber fraction for numerosity comparison) through the network steady state activation response across different recurrent inhibition values. The model also accounts for fMRI data previously reported for different enumeration related tasks. The model also allows us to generate an estimate of the pattern of reaction times in enumeration tasks. Overall, these findings suggest that a single network architecture can account for both small and large number processing. Copyright © 2014. Published by Elsevier B.V.
The painting of the mentally ill has fascinated artists and their public throughout the 20th century. Yet the psychologically as well as art-historically interesting topic can be traced back over a long period in the history of Western culture. Aristotle emphasizes that all men who create great works, such as artists, philosophers, poets and politicians, are prone to melancholy, that excess of black gall which is characteristic of artists and depressive. Although Plato distinguished between creative and clinical mania, the topos of "genius and madness" prevails up to our century. The cult of melancholy is taken up bei Marsilio Ficino and becomes fashionable among the artists of the 16th and 17th centuries. During the Romantic period of the early 19th century the psychologically unstable or even sick intellectual and artist becomes the focus of attention. Artistic madness is glorified in an almost mystical fashion. However, disillusionment was soon to follow. Schopenhauer, Lombroso and many physicians stress the close relationship between genius and madness. However, they judge madness to be merely morbid and negative. During the 20th century the artists of the avantgarde show much interest in psychoanalysis and in the art of the mentally ill. The rise of National Socialism brought about a drastic break in the appraisal of the art of the mentally ill, which today is an acknowledged factor in contemporary art.
Joutsa, Juho; Martikainen, Kirsti; Kaasinen, Valtteri
A 55-year-old male with idiopathic Parkinson's disease developed three behavioral changes under combination therapy with selegiline, cabergoline and levodopa. Co-existent behaviors included severe pathological gambling, punding and novel skills in writing poetry (published poetry books). Brain [(18)F]fluorodopa PET imaging showed decreased tracer uptake in the striatum contralateral to the predominant motor symptoms, consistent with the clinical diagnosis of Parkinson's disease. Uptake in the ventral striatum was markedly high. Brain MRI before and after behavioral changes showed no pathological findings. The patient was diagnosed as having Parkinson's disease together with DSM-IV criteria-fulfilling pathological gambling and punding-like stereotyped behavior. There are no established criteria for the classification of emerged artistic creativity, although there are descriptions of the phenomenon in the literature. Inspired by the case, we conducted a preliminary survey - including 290 patients with Parkinson's disease - exploring the possible relationship between creativity and impulsive-compulsive behaviors. The case, supported by the results of the survey, adds to the cumulative evidence of the association between dopaminergic medication and enhanced creativity, and suggests a possible linkage between increased artistic creativity and impulsive-compulsive behaviors in Parkinson's disease. Furthermore, it could be speculated that the high mesolimbic dopamine function might relate to the behavioral changes observed in this patient, and is suggestive of the overlapping neurobiological mechanisms of compulsive behaviors and artistic creativity.
McKinnon-Howe, Leah; Dowdall, Jayme
The goal of this study was to identify knowledge gaps in clinicians who evaluate and treat performing artists for illnesses and injuries that affect vocal function in college health settings. This pilot study utilized a web-based cross-sectional survey design incorporating common clinical scenarios to test knowledge of evaluation and management strategies in the vocal performing artist. A web-based survey was administered to a purposive sample of 28 clinicians to identify the approach utilized to evaluate and treat vocal performing artists in college health settings, and factors that might affect knowledge gaps and influence referral patterns to voice specialists. Twenty-eight clinicians were surveyed, with 36% of respondents incorrectly identifying appropriate vocal hygiene measures, 56% of respondents failing to identify symptoms of vocal fold hemorrhage, 84% failing to identify other indications for referral to a voice specialist, 96% of respondents acknowledging unfamiliarity with the Voice Handicap Index and the Singers Voice Handicap Index, and 68% acknowledging unfamiliarity with the Reflux Symptom Index. The data elucidated specific knowledge gaps in college health providers who are responsible for evaluating and treating common illnesses that affect vocal function, and triaging and referring students experiencing symptoms of potential vocal emergencies. Future work is needed to improve the standard of care for this population. Copyright © 2018 The Voice Foundation. Published by Elsevier Inc. All rights reserved.
The paper reflects upon the integration of academic-scientific methods and artistic strategies for art and technology projects that address user participation in a socially defined domain. The paper begins by describing its field of inquiry as an extended art field in which artistic enterprises...... (tightly coupled constituents) as a theoretical and heuristic tool for productive interferences between artistic and scientific methods. Art and technology projects operate within a field of existing forms (social patterns, urban spaces, etc.), which must be de-coupled prior to decisions related to new...
Marcela Palacio Puerta
Full Text Available The Internet provides new business opportunities for the music industry, especially for both independent artists and record companies. The reason of the latter is the great proliferation and growth of digital music platforms. However, contrary to statistics, artists have not been able to benefit of such opportunities in the expected manner. The academic development on this subject is in its beginnings especially with respect to the Colombian panorama, therefore for the first time in the literature, this paper draws some of the difficulties that the Colombian artists face in the world of the digital music.
Gomez-Guillamon, Maria; Eskemose Andersen, Jørgen; Contreras, Jorge Lobos
Introduced by scientific articles conserning architecture and human rights in light of cultures, emergencies, social equality and sustainability, democracy, economy, artistic development and science into architecture. Concluding in definition of needs for new roles, processes and education of arc......, Architettura di Alghero in Italy, Architecture and Design of Kocaeli University in Turkey, University of Aguascalientes in Mexico, Architectura y Urbanismo of University of Chile and Escuela de Architectura of Universidad Austral in Chile....
Lee, Annette S.
Most people are taught at a young age that Art and Science are two opposing subjects. My culture (Dakota-Sioux), teaches that every human being contains both male and female. The goal is to embrace the two opposing tendencies and live in balance. I am both a scientist (MS WashU 2008) and an artist (MFA Yale 2000). In my ambition to embrace both talents I have found very fertile ground. I will present a collection of "Four Direction Star Paintings". My ideas revolve around the four cardinal directions: North, East, South and West in relation to the four seasons and the stars as "teachers" or at least old friends. These ideas reflect everyday living as well as more intense Lakota ceremonies. The Star Paintings are sparkling, celestial guideposts. Amazingly, some of these ideas are embedded in both Western Science and Native American culture. This connection is golden. Indigenous peoples throughout the world have always had connections with the celestial skies. It is my goal to tap into this ancient connection and use it to establish new methodology for teaching science. Currently, I am painting a sixteen foot medicine teepee while working on my graduate degree in physics. I am funded by a Graduate Research Grant from the National Science Foundation.
Douglas J Bakkum
Full Text Available Here, we and others describe an unusual neurorobotic project, a merging of art and science called MEART, the semi-living artist.We built a pneumatically actuated robotic arm to create drawings, as controlled by a living network of neurons from rat cortex grown on a multielectrode array (MEA. Such embodied cultured networks formed a real-time closed-loop system which could now behave and receive electrical stimulation as feedback on its behavior.We used MEART and simulated embodiments, or animats, to study the network mechanisms that produce adaptive, goal-directed behavior. This approach to neural interfacing will help instruct the design of other hybrid neuralrobotic systems we call hybrots. The interfacing technologies and algorithms developed have potential applications in responsive deep brain stimulation systems and for motor prosthetics using sensory components. In a broader context, MEART educates the public about neuroscience, neural interfaces, and robotics. It has paved the way for critical discussions on the future of bio-art and of biotechnology.
d'AMBROSIO Alfano, Francesca Romana; Palella, Boris Igor; Riccio, Giuseppe; Bartalini, Massimo; Strambi, Fabio; Malchaire, Jacques
Heat stress in glass industry is mainly studied in large and highly mechanized manufacturing Units. To the contrary, few studies were carried out in small factories specialized in hand-made products. To stress the need of combined objective and medical surveys in these environments, this paper deals with a simultaneous climatic and physiological investigation of working conditions in artistic crystal glass factories in Tuscany (Italy). The microclimatic monitoring, through a continuous survey has been carried out in early spring. The main physiological parameters (metabolic rate, heart rate, tympanic temperature and water loss) were measured over the whole shifts. The results show that, despite the arduousness of the working conditions, the heat stress levels are physiologically tolerable. The predictions made using the PHS model at the Analysis level described in ISO 15265 agree closely to the observed values, validating the use of PHS model in these conditions. This model was then used to analyse what is likely to be the situation during the summer. It is concluded that the heat constraint will be very high and that some steps must be taken from the spring to monitor closely the exposed workers in the summer and take measures to prevent any heat accident.
López-Pousa, S.; Lombardía-Fernández, C.; Olmo, J. Garre; Monserrat-Vila, S.; Vilalta-Franch, J.; Calvó-Perxas, L.
Background The most frequent behavioral manifestations in Parkinson's disease (PD) are attributed to the dopaminergic dysregulation syndrome (DDS), which is considered to be secondary to the iatrogenic effects of the drugs that replace dopamine. Over the past few years some cases of patients improving their creative abilities after starting treatment with dopaminergic pharmaceuticals have been reported. These effects have not been clearly associated to DDS, but a relationship has been pointed out. Methods Case study of a patient with PD. The evolution of her paintings along medication changes and disease advance has been analyzed. Results The patient showed a compulsive increase of pictorial production after the diagnosis of PD was made. She made her best paintings when treated with cabergolide, and while painting, she reported a feeling of well-being, with loss of awareness of the disease and reduction of physical limitations. Conclusions Dopaminergic antagonists (DA) trigger a dopaminergic dysfunction that alters artistic creativity in patients having a predisposition for it. The development of these skills might be due to the dopaminergic overstimulation due to the therapy with DA, which causes a neurophysiological alteration that globally determines DDS. PMID:23185168
Hence the Graphic Artist is concerned with the problems of preparing and organizing .... advertisement, as well as furthering the role of advertising in the marketing .... The creative director or manager having received his own brief directly from.
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Jul 1, 2012 ... African artists through their work tend to point their creative arrows back at their own leaders .... The sound installation consists of 10 car horns ... shadow sensor activates a blaring sound which calls attention to such presence.
Full Text Available Purpose. The aim of the paper was to determine the occurrence of feet and ankle deformities in trampoline and artistic gymnasts. Methods. Ten acrobatic gymnasts (trampolinists and 10 artistic gymnasts aged 6-14 years were recruited. The calcaneal-tibial (rearfoot angle was determined as the angle of the upper calcaneal tendon and the longitudinal heel axis while Clarke angles were determined by podoscopy. Results. The trampolinists showed significantly greater medial angulation (calcaneal valgus than the group of gymnasts. Right and left foot Clark’s angles in both the trampoline and artistic gymnasts were above 55°. Conclusions. Trampolinists exhibit significantly more pronounced calcaneal valgus than artistic gymnasts. The prevalence of foot and ankle deformities in both populations should be addressed by coaches in the gymnastics training of young children.
This paper examines the cultivation of artistic sensibility and its impact on the art therapy process and product in a community mental health center. Artistic sensibility embodies the sense of self as an artist through the integration of artistic and aesthetic attributes of self and other. The formation of a gallery to exhibit patient art was…
Margarita, Gudova; Irina, Lisovetc
In the era of post-literacy, the development ofinformation technology and the technological basis of art as well as the mechanismsof not only artistic creativity, but also its perception, change. Thetransformation peculiarities of artistic perception of the new polymorphic andmultimedia art require their scientific and theoretical comprehension in theconditions of post-literacy that have developed in the last 50 years.In this case, we are interested in the nuancescharacterizing the changes in...
In the late 19(th) century, authors writing on aesthetics often referred to architecture to justify establishing a new hierarchy between things beautiful and things useful, a change underwritten by the rising sociological and anthropological perspectives on art. Meanwhile, architects debated the origins and evolution of artistic styles from the earliest forms of art to the most advanced monumental art works, a debate that fundamentally transformed the relationship between artistic expression and material determinism.
A group of Britain's leading artists including Anish Kapoor and Richard Deacon, are being paid to create works inspired by talking to physicists working at CERN. The project is sponsored jointly by the British Council, the Gulbenkian Foundation and the London Institute. The aim is to find out if artists can respond to nature as it has been defined by scientists, according to Ken McMullen the project director (1 page).
This paper and poster seek to address several fundamental questions about time. What are the natural phenomena and cognitive structures that underlie the human perception of time? What social constructs have evolved around questioning its nature? How did they arise and evolve over the ages? I have been exploring the subject of time merging my background as a conceptual artist with principles of scientific study. My focus has been on the changing visualizations of time through the evolution of human society, from the earliest depictions of the flowing river or the circular uroboros - a snake eating its own tail - to the linear arrow and the paintings of Dali and Magritte, who depict time with modern metaphors of a clock, a train, or the 4th dimension. How have these images influenced scientific, religious and philosophical thought surrounding time? Drawn by now from our collective subconscious, do they naturally bias us towards particular conventional models? And finally, how can an analysis of the visual metaphors of time contribute to the larger dialogue, one that involves scientists, technologists and philosophers, each with their own theories on the subject? This project attempts to answer these questions, and to propose that art is an essential voice in any discussion about time. Can artists and scientists working together bring us closer to an answer to the age-old question - what is time?
Full Text Available This paper and poster seek to address several fundamental questions about time. What are the natural phenomena and cognitive structures that underlie the human perception of time? What social constructs have evolved around questioning its nature? How did they arise and evolve over the ages? I have been exploring the subject of time merging my background as a conceptual artist with principles of scientific study. My focus has been on the changing visualizations of time through the evolution of human society, from the earliest depictions of the flowing river or the circular uroboros – a snake eating its own tail – to the linear arrow and the paintings of Dali and Magritte, who depict time with modern metaphors of a clock, a train, or the 4th dimension. How have these images influenced scientific, religious and philosophical thought surrounding time? Drawn by now from our collective subconscious, do they naturally bias us towards particular conventional models? And finally, how can an analysis of the visual metaphors of time contribute to the larger dialogue, one that involves scientists, technologists and philosophers, each with their own theories on the subject? This project attempts to answer these questions, and to propose that art is an essential voice in any discussion about time. Can artists and scientists working together bring us closer to an answer to the age-old question – what is time?
Full Text Available In this paper, Edgar Degas’ history paintings are read as the painter’s reflection on the irreconcilability of married life and artistic vocation, a major theme of discussion among artists and writers in nineteenth-century France. In The Young Spartans Exercising (1861 we see bachelors being banned from participation in the Gymnopaediae. In The Daughter of Jephthah (1859-60, Semiramis Building Babylon (1861 and Scene of War in the Middle Ages (1865, Degas shows famous unmarried women, femmes fortes who have chosen to pursue spiritual rather than mortal passions, all alter-egos for the artiste célibataire who chooses devotion to art over a family-centred bourgeois life. This article contributes to the view that Degas was neither a misogynist nor a narrow-minded bourgeois. Far from having preconceived patriarchal ideas on marriage and women, Degas choose to remain an artiste célibataire in accordance with the more extreme aspects of the nineteenth-century French cult of the artist as genius. It is the idea of the exceptional status of the artist that Degas elaborates in his history paintings, and that rendered him unmarriageable.
This chapter explores links between psychostimulants and creativity in the arts. These links are set in the context of an overview of the association between mind-altering drugs in general and specific branches of the arts, particularly literature. The economic impact of the psychostimulants both historically and in today's world has been substantial and this is mirrored in the culture of the countries involved with the trade in these special commodities. As with other families of addictive drugs, the psychostimulants are sought out more frequently than is the norm by creative individuals who then may represent the drugs in their art or associate the drugs with their creativity. The creative process is outlined and it is noted that if a drug helps at all with creativity then the specific properties of the drug may link it to a particular stage of the creative process. Stimulants are particularly associated with the evaluation and elaboration stage of the creative process and in particular nicotine and caffeine have been used in this way by writers when putting words on paper. The ability of psychostimulants to boost convergent thinking is the main mechanism at work but this is at a cost as divergent thinking is diminished. The other findings of note in this review are that particular venues based around the consumption of a psychostimulants can act as a creative hub-café culture in Paris and Vienna and early modern Europe-and that particular drugs can come to define an artistic grouping as with the Beats and the group around Warhol who had a preference for amphetamine. © 2015 Elsevier Inc. All rights reserved.
Dusty grains -- including tiny specks of the minerals found in the gemstones peridot, sapphires and rubies -- can be seen blowing in the winds of a quasar, or active black hole, in this artist's concept. The quasar is at the center of a distant galaxy. Astronomers using NASA's Spitzer Space Telescope found evidence that such quasar winds might have forged these dusty particles in the very early universe. The findings are another clue in an ongoing cosmic mystery: where did all the dust in our young universe come from? Dust is crucial for efficient star formation as it allows the giant clouds where stars are born to cool quickly and collapse into new stars. Once a star has formed, dust is also needed to make planets and living creatures. Dust has been seen as far back as when the universe was less than a tenth of its current age, but how did it get there? Most dust in our current epoch forms in the winds of evolved stars that did not exist when the universe was young. Theorists had predicted that winds from quasars growing in the centers of distant galaxies might be a source of this dust. While the environment close to a quasar is too hot for large molecules like dust grains to survive, dust has been found in the cooler, outer regions. Astronomers now have evidence that dust is created in these outer winds. Using Spitzer's infrared spectrograph instrument, scientists found a wealth of dust grains in a quasar called PG2112+059 located at the center of a galaxy 8 billion light-years away. The grains - including corundum (sapphires and rubies); forsterite (peridot); and periclase (naturally occurring in marble) - are not typically found in galaxies without quasars, suggesting they might have been freshly formed in the quasar's winds.
Full Text Available At present, the sports dance has entered every stage of the people’s life, has become the public’s favorite sport. Sports dance has been well developed. This article mainly uses the literature material law to carry on the detailed analysis to the sports dance constitution, elaborated in detail the sports dance artistic expression. The composition of sports dance elements; sports dance is a form of dance art show; sports dance through the dance art can be divided into three aspects, namely, form, music, shape of the expressive force. In this paper, the study will be more in-depth excavation of the cultural connotation of sports dance, and promote the development of sports dance can be more comprehensive. In 20s of last century, Chinese Sports Dance Association officially joined the International Sports Dance Association, which also makes our country’s sports dance and international exchange more frequent. However, due to China’s sports dance sports dance learning time is not long, while learning is influenced by Chinese traditional culture, the sports dance movements are too conservative, there is a very large gap and international enthusiasm, bold and unrestrained, the pursuit of individual sports dance in the dance style, music and performance hand. Sports dance originated from abroad, it is produced in the daily life of people in foreign countries. China’s domestic sports dance players in learning dance at the same time, the production and the connotation of dance is not very understanding, therefore, it is difficult to better reflect the emotional expression of sports dance. Although the sports dance is a kind of similar to the competitive projects, but it is also a kind of dance culture, and to constitute a force from the dance art show a detailed study, detailed mining playing officer of sports dance performance further, reducing China’s sports dance and international sports dance gap.
Full Text Available This note anchors Manish Arora's journey by placing it in the twin context of the fashion industry and that of internationalisation from an emerging economy. Creating and managing a fashion brand involves coping with the peculiarities of the fashion industry. Further, Arora's success in gaining a toehold in the global fashion market throws light on the odds that companies from emerging economies face as they venture into advanced international markets.
duration and velocity. Neurology, 1975, 25, 1065-1070. EYM, SAC 40 Bard, C.; Fleury, M.; Carriere, L.; Halle, M. Analysis of Gymnastics Judges’ Visual...Nodine, C.F.; Carmody, D.P.; Herman, E. Eye Movements During Search for Artistically Embedded Targets. Bulletin of the Psychonomic Society, 1979, 13
Nixon, Lois LaCivita
Illustrates the value of interdisciplinary approaches to patient care by exploring visual articulations of suffering as rendered by one artist. Makes general observations about the nature of humanities courses offered to medical students and depicts a visual portrayal of an illness story representing personal perspectives about patient suffering…
Visual signs (ideographs) are artistic codified expressions that promote social and cultural integration. They are normally based on popular conventions which over a period of time become generally accepted. In pre-western literate Africa, apart from oral communication, visual codes were employed within social groups.
Full Text Available The genesis of the creative process in Art is currently conceived as the intellectual selection by the artist of fragments of memory from her/his personal, cultural and emotional experience. Interpretation of the artistic object has been systematically developed from an external perspective of art history, literature, and fine arts or of medicine and psychology. Recent neurological findings on the molecular nature of memory have revolutioned the knowledge of the mental process of memorization, remembrance and creative synthesis. A movement of scientists defends the necessity of new tools to access mental processes, inherently subjective, such as artistic creativity. In the light of those evidences, we propose a new approach to the artwork starting from a first-person analysis, namely introspection, which offers an interpretation of the genesis of the artwork from his/her own memory. The scientific, philosophical and social background on the neuropsychological processes guiding the creative activity is reviewed. Our purpose is to integrate the previous approaches from a wide multidisciplinary perspective, and to pose a new reflection on how the autobiographical and intertextual data from the artist are modeled in a dynamic way in the complex net of mental interactions up to reach the creation of an artwork, which highlights an original new vision on the reading of art. This insight from first-person analysis might complement and enrich other analyses external to the artist.
Aksoydan, E; Camci, N
The aim of the study was to determine the prevalence of orthorexia nervosa among the performance artists in the State Opera and Ballet and in the Bilkent University Symphony Orchestra. The study population consisted of 39 men and 55 women for a total of 94 artists with mean age of 33 years. The ORTO-15 test was used to determine the prevalence of orthorexia nervosa. Those subjects who scored below 40 in the ORTO-15 test were classified as having orthorexia nervosa. Mean score of the participants in the ORTO-15 test was 37.9+/-4.46. A total of 56.4% of the artists involved in the research scored below 40 in the ORTO-15 test. While the highest prevalence of orthorexia nervosa was recorded among opera singers (81.8%), it was 32.1% among ballet dancers and 36.4% among symphony orchestra musicians. The differences between the three groups were statistically significant. No difference was noted between mean ORTO-15 score by baseline characteristics as gender, age, educational level, work experience, body mass index, smoking and alcohol consumption. The research group have a higher socio-economic and education level than the majority of the general public in Turkey. Additionally, being an artist in Turkey means being a role model for the general public both in terms one's physical appearance and lifestyle. These may be the reason why artists are more sensitive to this issue.
Arctic Messages is a series of prints created by a multidisciplinary team designed to build understanding and encourage dialogue about the changing Arctic ecosystems and the impacts on global weather patterns. Our team comprised of Arctic researchers, a poet, a visual artist, photographers and visualization experts set out to blend the vocabularies of our disciplines in order to provide entry into the content for diverse audiences. Arctic Messages is one facet of our broader efforts experimenting with mediums of communication able to provide entry to those of us outside scientific of fields. We believe that the scientific understanding of change presented through the languages art will speak to our humanity as well as our intellect. The prints combine poetry, painting, visualization, and photographs, drawn from the Arctic field studies of the Next Generation Ecosystem Experiments research team at Los Alamos National Laboratory. The artistic team interviewed the scientists, read their papers and poured over their field blogs. The content and concepts are designed to portray the wonder of nature, the complexity of the science and the dedication of the researchers. Smith brings to life the intertwined connection between the research efforts, the ecosystems and the scientist's experience. Breathtaking photography of the research site is accompanied by Samsel's drawings and paintings of the ecosystem relationships and geological formations. Together they provide entry to the variety and wonder of life on the Arctic tundra and that resting quietly in the permafrost below. Our team has experimented with many means of presentation from complex interactive systems to quiet individual works. Here we are presenting a series of prints, each one based on a single thread of the research or the scientist's experience but containing intertwined relationships similar to the ecosystems they represent. Earlier interactive systems, while engaging, were not tuned to those seeking
Gilles Jean Abes
Full Text Available This work searched to examine the manifestations of creativity in the artist-childhood relationship. Our reflection took for theorical basis authors/researchers like André Malraux, Howard Gardner and Charles Baudelaire in parallel with three novels of occidental literature: Gogol’s O retrato, Machado de Assis’ Um homem célebre and Cantiga de esponsais. Why the “genius is such the childhood refounded”, like said the poet of Flores do mal? This is the interrogation that started the exam of this relationship. This way, the research questioned the absolut supremacy of the racional doing in the artistic creation trying to show a variable degree of influence of the imagination, unconsciousness or of an intruder element indenpendently of the knowledge. There would be like this in childhood and in certain artists an incompletude that “shine a lapse” and would allow an “invention of the possible”.
A Mohammadi Kalesar
To achieve this goal, defamiliarization has been used as a criterion for recognizing the artistic aspects of mystical texts. Therefore, by giving a general review of literary theories of 20th century, defamiliarization and foregrounding have been considered in the works of Formalists and Structuralists. In this framework, the function of some of the features of mystical thought such as symbol and interpretation, revelation, relativism, repeated creation and wonder (Hayrat in artistic creation have been investigated. These features produce a multilayered insight in authors of mystical texts. The results of such insight can be seen in the language of these texts. In this language, defamiliarized features produce an artistic perception in the readers of the texts.
Allain Bonilla, Marie-Laure
De Linda Nochlin, on connaît essentiellement l’essai explosif « Why Have There Been No Great Female Artists? » (1971), référence incontournable de l’histoire de l’art féministe, et les écrits sur la représentation des femmes par les artistes masculins au XIXe siècle. L’originalité de cette anthologie est qu’elle met en avant les écrits de Linda Nochlin sur les femmes artistes, de Berthe Morisot à Sarah Lucas, à travers une sélection de trente essais rédigés depuis 1971 et classés par décennie...
Carbon, Claus-Christian; Hesslinger, Vera M
The present study challenges the notion that judgments of artistic quality are based on stable aesthetic standards. We propose that such standards are a delusion and that judgments of artistic quality are the combined result of exposure, elaboration, and discourse. We ran two experiments using elaboration tasks based on the repeated evaluation technique in which different versions of the Mona Lisa had to be elaborated deeply. During the initial task either the version known from the Louvre or an alternative version owned by the Prado was elaborated; during the second task both versions were elaborated in a comparative fashion. After both tasks multiple blends of the two versions had to be evaluated concerning several aesthetic key variables. Judgments of artistic quality of the blends were significantly different depending on the initially elaborated version of the Mona Lisa, indicating experience-based aesthetic processing, which contradicts the notion of stable aesthetic standards.
Full Text Available The article examines the concert activity of Mihail Muntean having as source of inspiration articles from periodicals. Using the publications from the media the author emphasizes the artistic path travelled by M.Muntean, from his La Scala debut and schooling until the triumph obtained on the world big stages. Th e leading parts, performed by M. Muntean in the operas „Sergei Lazo”, „Turandot”, „Queen of Spades”, „Eugene Oneghin” etc., are characterized in detail. Th ere are reviewed the most remarkable appreciations of M.Muntean`s interpretative mastery in diff erent countries. It concludes that M. Muntean`s artistic activity has made a major contribution to the development of opera art in the Republic of Moldova and is promoting our country`s artistic image abroad.
Full Text Available Due to the costs involved with renovating exhibitions at natural history museums, some permanent exhibits stay on display unchanged for decades. The Bone Hall at the Smithsonian’s National Museum of Natural History has remained intact for 51 years. Here we discuss this exhibition as a stark exemplification of a science-only, art-free approach to communicating ideas and how creative reimaginings of the visitor experience have made it more accessible for the majority of visitors. Within the Bone Hall, mounted skeletons are displayed in static poses without any hint of movement and interpretation of their behaviors and text labels describe, in esoteric language, skeletal details. In a rare opportunity to redesign the visitor experience for an existing exhibition, we produced a mobile app. The app is guided by concepts in the natural sciences, yet inspired by artistic ideas applied to audio, video and 3D animation, which created a multisensory visitor experience. Indispensable to the approach was a production team comprised of individuals rooted in the arts/humanities and sciences. They used their crafts to make science more accessible to non-specialized visitors through audio/visual creations. Interviews and surveys with visitors confirmed the value of producing artistic interpretations of science as a more effective method of communication in the exhibit.
Full Text Available The aim of the study is to investigate the possibilities of artistic creativity to foster the development of prospective teachers’ professional values to enable an appreciation of the diversity and individuality. The central idea of the article is on the development of the student’s values and its relation to a person’s direct emotional experience of a particular value and reflective arrangement of its emotional trend and subjective sense. One of the modes of experience of artistic creativity - experience of the creative process - is analysed as a source for emotions, necessary for the initiation of the process of development of values. The analysis of qualitative and quantitative data reveals significant interconnections between prospective teachers’ experience of creative process in art classes and their attitudes towards diversity and individuality as personally and professionally significant values. The results of the research enable us to provide suggestions about the content of visual art studies in teacher training curriculum, recommendable for facilitating the development of prospective teachers’ professional competence.
Cashman, K. V.; Rust, A.; Stibbon, E.; Harris, R.
help scientists to visualize materials, but also how artists and scientists can work together to learn from each other. To illustrate this point, our poster will provide opportunities for hands on experimentation with earth materials as artistic media.
Full Text Available In the book "Mozart – Sociology of a Genius", Norbert Elias describes clashes around craftsmen artists (attached to the musical tastes of the court aristocracy and independent artists (with more freedom and musical autonomy, only less socially structured, presenting Mozart as an agent of transition. On the other hand, in the XXI century, comes up with the Brazilian band "Macaco Bong" the concept artist like mason, i. e., the idea of Musician’s involvement in the production process, not just in time to take the stage, pointing out the new digital technologies as a way for democratizing music. In this article, I will discuss reappropriations of ancient strategies of the music industry, and how they return reconfigured with these young people from the new music industry of the XXI century.
Baart, F.; van Gils, A.; Hagenaars, G.; Donchyts, G.; Eisemann, E.; van Velzen, J. W.
A compelling visualization is captivating, beautiful and narrative. Here we show how melding the skills of computer graphics, art, statistics, and environmental modeling can be used to generate innovative, attractive and very informative visualizations. We focus on the topic of visualizing forecasts and measurements of water (water level, waves, currents, density, and salinity). For the field of computer graphics and arts, water is an important topic because it occurs in many natural scenes. For environmental modeling and statistics, water is an important topic because the water is essential for transport, a healthy environment, fruitful agriculture, and a safe environment.The different disciplines take different approaches to visualizing water. In computer graphics, one focusses on creating water as realistic looking as possible. The focus on realistic perception (versus the focus on the physical balance pursued by environmental scientists) resulted in fascinating renderings, as seen in recent games and movies. Visualization techniques for statistical results have benefited from the advancement in design and journalism, resulting in enthralling infographics. The field of environmental modeling has absorbed advances in contemporary cartography as seen in the latest interactive data-driven maps. We systematically review the design emerging types of water visualizations. The examples that we analyze range from dynamically animated forecasts, interactive paintings, infographics, modern cartography to web-based photorealistic rendering. By characterizing the intended audience, the design choices, the scales (e.g. time, space), and the explorability we provide a set of guidelines and genres. The unique contributions of the different fields show how the innovations in the current state of the art of water visualization have benefited from inter-disciplinary collaborations.
We are a group of ocean scientists, artists, and educators working to publicize the urgent environmental problems facing our ocean environs, including overfishing, climate change and ocean acidification, and environmental degradation due to plastic and other forms of pollution. Our team leader, Kira Carrillo Corser, is an artist and educator known nationally for affecting policy and social change. Our collaboration results from the DNA of Creativity Project - the brainchild of Patricia Frischer, co-ordinator for the San Diego Visual Arts Network (http://dnaofc.weebly.com). The DNA of Creativity funded teams composed of artists and scientists with the goal of fusing the creative energies of both into projects that will enhance the public's perception of creativity, and make the complexities of art and science collaborations accessible to a new and larger audience. Sea Changes - ACT was funded initially by the DNA of Creativity Project. Our project goals are : 1) To entice people to participate in the joys of discovery of art AND science and 2) To motivate the public to work for real, committed and innovative change to protect our oceans. Part of our strategy for achieving our goals is to create a traveling art installation to illustrate the beauty of the oceans and to instill in our viewers the joys of discovery and creativity that we as scientists and artists pursue. And following this, to make the destructive changes occurring in the ocean and the future consequences more visible and understandable. We will develop lesson plans to integrate our ideas into the educational system and we are documenting our collaborative and creative process to inform future art-science collaborations. Finally, after emotionally connecting with our viewers to provide a means to ACT to make real and positive CHANGES for the future. Our project aims to build commitment and action for environmental conservation and stewardship as we combine scientific research with ways to take action
This is one of the most significant literary works of the 20th century, and one of the most innovative. Young Irish Catholic, Stephen Dedalus, rejects religion and national ties to develop unfettered as an artist. Strongly autobiographical, the novel is one of the founding texts of Modernism and the
Erickson, Mary; Hales, Laura
This study describes the effects of a yearlong, multivisit teen program in a contemporary art museum on adolescents' reflections about art. Our purpose was to discover whether this program, focused on experiences with contemporary art and artists with its metacognitive approach, affected students' thinking about their own artmaking. The…
The Creative Artist: A Journal of Theatre and Media Studies is an annual publication, devoted to the advancement of research and knowledge in all areas of Theatre and Media Arts. The Editors are inspired by a need to assemble well – researched papers and reviews, which treat topical issues, in diverse areas of Theatre ...
The Creative Artist is an annual publication devoted to the advancement of knowledge in all areas of Theatre and Media arts. Vol 11, No 1 (2017). DOWNLOAD FULL TEXT Open Access DOWNLOAD FULL TEXT Subscription or Fee Access. Table of Contents. Articles. Aquatic theatre: women as performing audience ...
Hinojosa-Azaola, Andrea; Alcocer-Varela, Jorge
The reflection of medicine in the universal arts has motivated several rheumatologists to discover features of rheumatic diseases depicted by the artist's eyes long before they were defined as specific pathologic entities. The result has been the identification of several pieces of art dating from the Middle Ages, the Renaissance, the Baroque and Post-Impressionist periods that depict clear features of several rheumatic diseases such as RA, OA, camptodactyly and temporal arteritis, among others. On the other hand, great artists such as Pierre-Auguste Renoir, Antoni Gaudí, Raoul Dufy, Paul Klee, Frida Kahlo and Niki de Saint Phalle are good examples of how rheumatic diseases such as RA, scleroderma and chronic pain can influence the artist's perspective, the technique used and the content of their work. Art can serve as a powerful resource to understand the natural course of diseases. By learning through the artist's eyes the way illnesses behave and evolve in time, rheumatologists can trace the history of several conditions. © The Author 2014. Published by Oxford University Press on behalf of the British Society for Rheumatology. All rights reserved. For Permissions, please email: firstname.lastname@example.org.
Jonathan Adagogo Green's photographic and artistic contributions working in his countryside, the Niger Delta of Nigeria is reviewed by Professor Lisa Aranson. Aranson in a public lecture presentation on the stand-point of art history thinks of J.A. Green as having operated in two worlds of which he is said to have initiated in ...
This essay explores silent conversations with the past, but also navigates through the labyrinth of artistic process, with its manifold passages of research, chance occurrence and aesthetic experimentation. The double metaphors of silent conversations and labyrinths apply to the essay and the artwork within it, to the research and to the practice.…
Full Text Available Indonesia’s leading mime artist, Jemek Supardi, is a former pickpocket and grave-digger. Based in the key centre of Indonesian performative arts, the city of Yogyakarta, Central Java, Jemek is an active member of several artistic troupes and he is a collaborator, friend and acquaintance of many within the closely-knit arts-scene, which in terms of diversity and sheer volume of performances, is unique in Indonesia. Although mime is a niche art-form in Indonesia, Jemek’s self-taught skill as a pantomime artist is clearly evident and his reputation as a professional is second-to-none, particularly in Yogyakarta. This article examines key elements of Jemek’s performative milieu, including his use of mime and silence as a mode of cultural and political expression and his use of white face-paint as an expression of solidarity with the Javanese proletariat. The link between the personal and political elements of Jemek’s artistic practice will also be examined, simultaneously highlighting the difficulty of applying any particular theoretical template onto his life and art.
Haaften, A.W. van
In this article I show how we can give a formal representation and analysis of evolutions in artistic style, using the work of the painter Mondrian as an example. Capitalising on the idea that radical change in thought implies related changes in judgement criteria, we can in a ''logic of
Haaften, A.W. van
In this article I show how we can give a formal representation and analysis of evolutions in artistic style, using the work of the painter Mondrian as an example. Capitalising on the idea that radical change in thought implies related changes in judgement criteria, we can in a ''logic of
Thought processes of seven artist-level jazz musicians, each of whom recorded an improvised solo, were investigated. Immediately after completing their improvisations, participants listened to recordings of their playing and looked at the notation of their solos as they described in a directed interview the thinking processes that led to the…
strengthened and sustained by the introduction of schools and churches. ... have turned out many artists over the years including students on industrial training .... meetings between students and management also take place any time the ... As the studios had a tradition of exhibitions, conferences and seminars, as well.
Rigorous science – Artistic freedom. The challenge of thesis supervision in an art university. K Rinne, P Sivenius. Abstract. No Abstract. South African Journal of Higher Education Vol. 21 (8) 2007: pp. 1091-1102. Full Text: EMAIL FULL TEXT EMAIL FULL TEXT · DOWNLOAD FULL TEXT DOWNLOAD FULL TEXT.
McConnell, Colleen; McPherson, Alyssa; Woolf, Kathleen
Marching artists are a unique group of athletes whose performance can be influenced by nutrition. Because physical demands are thought to be moderate to high, adequate energy and a variety of nutrient-dense foods are needed. The purpose of this study was to examine diet quality, physical activity, and eating behavior of marching artists across elite and nonelite competition levels. This cross-sectional analysis used the validated National Cancer Institute Diet History Questionnaire II, International Physical Activity Questionnaire, and Eating Behavior Patterns Questionnaire. Diet quality was assessed using the Healthy Eating Index (HEI) 2010. Marching artists who participated in marching band in 2015 were eligible. Those in Drum Corps International (DCI) were considered part of the elite level; all others were considered nonelite. Chi-square analyses assessed associations between categorical variables and competition level, and independent sample t-tests assessed differences between continuous variables among competition level. Participants (n = 323) included 228 (71%) DCI members and 95 (29%) non-DCI members who reported a mean age of 19.8 ± 1.9 years. DCI members reported higher physical activity levels (p competition levels. Only one participant overall (quality combined with high levels of physical activity is a problem for marching artists that should be addressed through carefully planned interventions.
Full Text Available The author discusses different approaches to artistic research based on her own research project involving several closely related theatre performances for young children. Key to the project is the development of a form of dance theatre in which the child audience is given the opportunity to actively participate and interact with the performers. The dramatic structure of the improvised dance concert Mamma Danser (2011 alternates between a common focus, an individual, “own” focus and a “multifocus”. The article discusses what implications this may have for the children, the performers and the researching artist. In scientific research a clear focus and a reflective perspective are often seen as crucial for the result, while in artistic processes more intuitive and improvised approaches are employed, consequently providing a different type of knowledge. Such knowledge, which is not readily accessible through the “outsider" perspective of hermeneutic interpretation, becomes evident by setting different interpretations and perspectives in dialogue with each other and with the performers’ own bodily experiences. Henk Borgdorff’s separation between an interpretive, an instrumental, and a performative research perspective is applied to provide a comprehensive picture of the process of creating artistic performances for young children. In conclusion, the author maintains that this research project demonstrates the possibility of creating common art experiences in which both adults and children take part in reciprocal interaction and improvisation.
Steckel, Barbara; Shinas, Valerie Harlow; Van Vaerenewyck, Leah
The purpose of this article is to inform teachers about the ways technology can be integrated to add value to literacy instruction. Artistic technology-integrated literacy and disciplinary instruction in preK through grade 4 classrooms is described through the stories of five teachers who were identified as both strong teachers of literacy and…
Bernardo Bustamante Cardona
Full Text Available This article shows a theoretical approach to and a description of some contributions of a work of transformation of educational and sociocultural reality carried out by a group of people and institutions, among which are San Buenaventura University, Antioquia Museum, Ediarte Inc. and Antioquia University. Such intervention aims at contributing to the improvement of Artistic Education quality in Antioquia and the nation. In order to understand the significance of these Gatherings, a short historical framework is explained in which global and regional processes of academic activities having an impact on the structure of the Artistic Education field are pointed out. Likewise, some perspectives in the definition of artistic education are tackled and then a definition of Pierre Bourdieu´s concept of fieldis presented. Therefore, Meaningful Experiences Gatherings in Artistic Education (MEGAE are presented and the three first gatherings are described. Finally, it is shown the panorama of the contributions of the gatherings both in the theoretical formulation and relational structure of the field.
in mainstream media, contemporary North American artists are working with videogames as a means to engage the public in a discussion of the repercussions and possibilities of an increasingly digitized world. Artists’ games like Anne-Marie Schleiner, Brody Condon and Joan Leandre’s Velvet Strike (2002) and Zach...
Bukva, Bojan; Vrgoč, Goran; Madić, Dejan; Sporiš, Goran; Trajković, Nebojša
Generalized Joint Hypermobility (GJH) is suggested as a contributing factor for injuries in young athletes and adults. It is presumed that GJH causes decreased joint stability, thereby increasing the risk of joint and soft tissue injuries during sports activities. The aim of this study was to determine the correlation between the hypermobility rate (using the Beighton`s modification of the Carter-Wilkinson criteria of hypermobility) in gymnasts and injury rate, during the period of one year. This study observed 24 artistic gymnasts (11-26 years old), members of Qatar National Team in artistic gymnastics. We examined the Beighton joint hypermobility screen and a seasonal injury survey. The gymnasts characteristics (age, gender) and gymnastics characteristics (training per day and number of years in training artistic gymnastics) and its' relations to injury rate were also included. The most common injury was the lower back pain injury, followed by knee, shoulder, hip and ankle injuries. We found strong correlation of number of years gymnastics training and injury rate (p0.05). According to this study there is no correlation between GJH rate and injury rate in artistic gymnasts in Qatar. Total training period in gymnastics have greater contribution in injury rate.
Abbott, Kayleigh A.; Shanahan, Matthew J.; Neufeld, Richard W. J.
Art making has been documented as an effective stress reduction technique. In this between-subjects experimental study, possible mechanisms of stress reduction were examined in a sample of 52 university students randomly assigned to one of four conditions generated by factorially crossing Activity Type (artistic or nonartistic) with Coping…
Ruokonen, Inkeri; Eldridge, Laurie
The aim of this case study was to discover how three Sami artists present their culture in their arts and how their art grows from Sami traditions. Our first purpose was to find out how they use their art forms' roots to create new ideas. The other purpose of this study was to bring into discussion the importance of a minority culture's arts in…
In the field of teaching artists a new professional profile might be arising: the cultural learning entrepreneur. Compelled by European standards for business and social innovation, the new role is in search of identity and shared understanding. In the present article, the author presents a network project, funded by the European Community, which…
Anghel Ionica Ona
Artistic talent has been defined in various contexts and registers a variety of meanings, more or less operational. From the perspective of pedagogical intervention, it is imperative understanding artistic talent trough the theoretical models of giftedness and talent. So, the aim of the study is to realize a review of the most popular of the theoretical models of giftedness and talent, with identification of the place of artistic talent and the new meanings that artistic talent has in each on...
Van Schepen Randall K.
Full Text Available The present paper analyzes two artistic strategies employed by Gerhard Richter to deal with painful recent cultural memory. Two works in particular reveal the relative success of Richter’s varied artistic strategies addressing contemporary political events: 18. Oktober 1977 (1988 and War Cut (2004. In his series of paintings on the Baader-Meinhof terrorist group, Richter effectively employs his “photopainting” style to address the profoundly disturbing deaths of the Baader-Meinhof group in the 1970s. Richter chose mundane photographic sources for his imagery, denying a hierarchy of “correct” memories of the events and turning photographic indexicality against itself by employing a painterly medium, tinged with nostalgia, to represent it. Richter’s photopaintings of Baader-Meinhof thus use the “factual” nature of the photograph while also utilizing an elegiac painterly mist through which an indistinct emotional memory of the past seems to emerge. Richter’s blurring of images can thus be understood as a fulcrum on which the undecidability of history itself must be represented. Richter constructs War Cut (2004, on the other hand, as a work and aesthetic experience decidedly at odds with the iconicity of his Baader-Meinhof images by employing arbitrariness and conceptual abstraction.
Full Text Available In the past ten years, groups of local artists, architects, writers and activists have become concerned not only with the changing material conditions of Casablanca, but also with the city’s memory. This essay is concerned with two projects that reveal how nostalgic modes of recollection expose and limit geographies of cosmopolitan identity in the city. The first project, a collection of twelve booklets written by prominent novelists and poets with well-known photographers, is entitled Casablanca, fragments d’imaginaire . This collection argues that nostalgia and phantasm are key organizing concepts through which the city should be recollected, claiming that these modes of representation produce multiple, plural and heterogeneous forms and imaginations that allow the “soul” of the city to emerge. The second project is a participatory urban archeology art project started by the art collective La Source du lion . The collective practices a non-nostalgic curation of memory that moves cosmopolitanism in the city beyond a historical category into a contemporary practice and ethos. Read comparatively, these projects shed light on two post-colonial generations of writers and artists, their claims to the colonial past, identity politics about cosmopolitanism in the present, and struggles over cultural capital for the future.
Olsén, Jan Eric
This paper looks at the notion of the body as an interior landscape that is made intelligible through visual representation. It discerns the key figure of the inner corporeal voyage, identifies its main elements and examines how contemporary artists working with performances and installations deal with it. A further aim with the paper is to discuss what kind of image of the body that is conveyed through medical visual technologies, such as endoscopy, and relate it to contemporary discussions on embodiment, embodied vision and bodily presence. The paper concludes with a recent exhibition by the French artist Christian Boltanski, which gives a somewhat different meaning to the idea of the body voyage.
Full Text Available Humboldtian landscape is the best result of a close relationship between artists and scientists in the context of the Enlightenment. Many artists inspired Humboldt to develop his concept of landscape as the best way of representing Nature, but some British artists in particular were a strong reference for him. Thomas Daniell and William Hodges had travelled to Asia creating a particular imagery, which inspired the desire to travel and the feeling of the exotic taste in Humboldt. Around Humboldt, mainly two types of artists have been studied: on the one hand, painter travellers who received direct instructions from Humboldt after his experience in America, and on the other, artists who started their trips by themselves after reading his works. However, this paper is focused on the links between Humboldt and these British painters of the Orient, whom he met on a European tour with Georg Forster, before making his trip to America.El paisaje teorizado por Humboldt es el resultado de una estrecha relación entre artistas y científicos, en el contexto de la Ilustración. Muchos artistas inspiraron a Humboldt a desarrollar su concepto del paisaje como la mejor forma de representar la naturaleza pero particularmente, algunos artistas británicos supusieron una fuerte referencia para él. Principalmente, alrededor de Humboldt se han estudiado dos tipos de artistas: por una parte, los pintores viajeros que recibieron instrucciones directas de Humboldt tras su experiencia en América y por otra, los artistas que iniciaron sus viajes por iniciativa propia tras haber leído los sus trabajos. Sin embargo, este texto se centra en las relaciones entre Humboldt y los pintores británicos de Oriente, a quienes él conoció en su viaje europeo junto a Georg Forster, antes de realizar su viaje americano.
Stork, David G.
We examine one class of evidence put forth in support of the recent claim that the Italian Baroque master Caravaggio secretly employed optical projectors as a direct drawing aid. Specically, we test the claims that there is an "abnormal number" of left-handed gures in his works and, more specically, that "During the Del Monte period he had too many left-handed models." We also test whether there was a reversal in the handedness of specic models in different paintings. Such evidence would be consistent with the claim that Caravaggio switched between using a convex-lens projector to using a concave-mirror projector and would support, but not prove, the claim that Caravaggio used optical projections. We estimate the parity (+ or -) of each of Caravaggio's 76 appropriate oil paintings based on the handedness of gures, the orientation of asymmetric objects, placement of scabbards, depicted text, and so on, and search for statistically significant changes in handedness in figures. We also track the direction of the illumination over time in the artist's uvre. We discuss some historical evidence as it relates to the question of his possible use of optics. We nd the proportion of left-handed figures lower than that in the general population (not higher), and no significant change in estimated handedness even of individual models. Optical proponents have argued that Bacchus (1597) portrays a left-handed gure, but we give visual and cultural evidence showing that this gure is instead right-handed, thereby rebutting this claim that the painting was executed using optical projections. Moreover, scholars recently re-discovered the image of the artist with easel and canvas reflected in the carafe of wine at the front left in the tableau in Bacchus, showing that this painting was almost surely executed using traditional (non-optical) easel methods. We conclude that there is 1) no statistically signicant abnormally high number of left-handed gures in Caravaggio's uvre, including
Snyder, Scott; Fisk, Timarie
Several studies have described the characteristics and employment situations of teaching artists in the United States. This study adds to that literature by describing the characteristics of teaching artists working in K-12 school environments, the nature of the classroom roles of such teaching artists, the professional development and supervision…
This article elaborates a first concept for defining artistic quality in a nonprofit professional opera company. To specify the artistic quality of an opera company, we identify two components: profile quality and performance quality. The article discusses the limitations of this preliminary concept and considerations for further research on artistic quality in an opera company.
... Buildings Service; Information Collection; Art-in- Architecture Program National Artist Registry (GSA Form... Information Collection 3090- 0274, Art-in-Architecture Program National Artist Registry (GSA Form 7437), by... corresponds with ``Information Collection 3090-0274, Art-in- Architecture Program National Artist Registry...
Fox, John A; Poor, Erin; Desai, Sukumar P
Many forms of art accurately depict physical attributes of their subjects. But how precisely do portraits capture personal, emotional, and behavioral aspects of individuals holding leadership positions in academic departments of anesthesiology? We examined formal portraits of the first three academic chairmen of anesthesiology in our department - Leroy D. Vandam, Benjamin G. Covino, and Simon Gelman and obtained information about the artists (George Augusta and Marc Klionsky) regarding how they conducted research on their subjects, and the methods they used to depict significant character traits into their art. We then correlated the artistic depiction with known biographical and behavioral qualities of these leaders. We found that the artists were remarkably astute in their observations and that they successfully captured both physical and emotional aspects of these chairmen in their portraits. Moreover, in one instance, significant early life experiences were added to the composition with subtlety. Individuals familiar with these chairmen and aware of their management style can easily appreciate the techniques employed by the artists. We conclude that art successfully depicted personal and executive attributes of these three academic anesthesia chairmen. Copyright © 2016 Elsevier B.V. All rights reserved.
López Silva, Brenda A.; Renambot, Luc
CytoViz is an artistic, real-time information visualization driven by statistical information gathered during gigabit network transfers to the Scalable Adaptive Graphical Environment (SAGE) at various events. Data streams are mapped to cellular organisms defining their structure and behavior as autonomous agents. Network bandwidth drives the growth of each entity and the latency defines its physics-based independent movements. The collection of entity is bound within the 3D representation of the local venue. This visual and animated metaphor allows the public to experience the complexity of high-speed network streams that are used in the scientific community. Moreover, CytoViz displays the presence of discoverable Bluetooth devices carried by nearby persons. The concept is to generate an event-specific, real-time visualization that creates informational 3D patterns based on actual local presence. The observed Bluetooth traffic is put in opposition of the wide-area networking traffic by overlaying 2D animations on top of the 3D world. Each device is mapped to an animation fading over time while displaying the name of the detected device and its unique physical address. CytoViz was publicly presented at two major international conferences in 2005 (iGrid2005 in San Diego, CA and SC05 in Seattle, WA).
Sosin, Adrienne Andi; Bekkala, Elsa; Pepper-Sanello, Miriam
This collaborative action research study of pedagogy examines an introductory high school visual arts curriculum that includes artworks pertinent to labor studies, and their impact on students’ understanding of the power of art for social commentary. Urban students with multicultural backgrounds study social realism as an historical artistic movement, consider the value of collective activism for social justice, and learn modes of artistic expression that meet state standards in visual arts....
successful Artistic Director of the Royal Danish Opera, Kasper Bech Holten. The analysis shows that conventional management models primarily use the symbolic forms of science and myth, while Kasper integrates the symbolic forms of art and science. In what Kasper has to say on management, features...... and structures for a new management discourse practice emerge which is more suited to postmodern society than more conventional management models.......This article investigates whether it would be expedient for our management models to be inspired by art as a form of consciousness. With this in mind, the article analyses the symbolic forms embedded in the management discourse practice of art in the way that the concept is unfolded by the highly...
Full Text Available The article analyses modular artistic forms that emerge in all scale structures of contemporary architecture. Module, as a standard unit of measure has been in use since antiquity. It gained even more significance amid innovative building and computing technologies of the 20th and 21st centuries. Static and fixed perceptions of a module were supplemented with concepts of dynamic and adaptable modular units, such as fractals, parameters and algorithms. Various expressions and trends of modular design appear in contemporary architecture of Lithuania, where modular forms consist of repetitive spatial and planar elements. Spatial modules as blocks or flats and planar modular wall elements are a characteristic expression of the contemporary architecture in Lithuania.
Forsythe, A; Nadal, M; Sheehy, N; Cela-Conde, C J; Sawey, M
Visual complexity has been known to be a significant predictor of preference for artistic works for some time. The first study reported here examines the extent to which perceived visual complexity in art can be successfully predicted using automated measures of complexity. Contrary to previous findings the most successful predictor of visual complexity was Gif compression. The second study examined the extent to which fractal dimension could account for judgments of perceived beauty. The fractal dimension measure accounts for more of the variance in judgments of perceived beauty in visual art than measures of visual complexity alone, particularly for abstract and natural images. Results also suggest that when colour is removed from an artistic image observers are unable to make meaningful judgments as to its beauty. ©2010 The British Psychological Society.
Zachary P. Norwood
Full Text Available Analytic philosophers have disputed the nature of “artistic value” for over six decades, bringing much needed clarity and rigor to a subject discussed with fashionable obscurity in other disciplines. This essay frames debates between analytic philosophers on artistic value and suggests new directions for future research. In particular, the problem of “intrinsic value” is considered, that is, whether a work’s value derives from its experienced properties, as a work of art, or from cultural trends outside the work’s properties. It is argued that neurobiological research helps resolve perceived differences between a work’s intrinsic and extrinsic values. A work can be both rewarding and punishing on its own, “intrinsic” merit—as a percipient, real thing in the world evoking predictable kinds of emotion—and with respect to ever shifting, “extrinsic” cultural norms.
Facial reconstruction is employed in the context of forensic investigation and for creating three-dimensional portraits of people from the past, from ancient Egyptian mummies and bog bodies to digital animations of J. S. Bach. This paper considers a facial reconstruction method (commonly known as the Manchester method) associated with the depiction and identification of the deceased from skeletal remains. Issues of artistic licence and scientific rigour, in relation to soft tissue reconstruction, anatomical variation and skeletal assessment, are discussed. The need for artistic interpretation is greatest where only skeletal material is available, particularly for the morphology of the ears and mouth, and with the skin for an ageing adult. The greatest accuracy is possible when information is available from preserved soft tissue, from a portrait, or from a pathological condition or healed injury.
Facial reconstruction is employed in the context of forensic investigation and for creating three-dimensional portraits of people from the past, from ancient Egyptian mummies and bog bodies to digital animations of J. S. Bach. This paper considers a facial reconstruction method (commonly known as the Manchester method) associated with the depiction and identification of the deceased from skeletal remains. Issues of artistic licence and scientific rigour, in relation to soft tissue reconstruction, anatomical variation and skeletal assessment, are discussed. The need for artistic interpretation is greatest where only skeletal material is available, particularly for the morphology of the ears and mouth, and with the skin for an ageing adult. The greatest accuracy is possible when information is available from preserved soft tissue, from a portrait, or from a pathological condition or healed injury. PMID:20447245
Automatic item generation (AIG) is a broad class of methods that are being developed to address psychometric issues arising from internet and computer-based testing. In general, issues emphasize efficiency, validity, and diagnostic usefulness of large scale mental testing. Rapid prominence of AIG methods and their implicit perspective on mental testing is bringing painful scrutiny to many sacred psychometric assumptions. This report reviews basic AIG ideas, then presents conceptual foundations, image model development, and operational application to artistic judgment aptitude testing.
Ferrero, Jose L.; Roldan Clodoaldo, David; Mario Alvarez, Juanes
The study of the pictorial work of Joaquin Sorolla has not been carried out from the point of view of the scientific analysis. Analytical techniques give us objective information about materials and process used in artistic works of art. In this sense, the Archaeometry Unit of the Institute of Material Science of the Valencia University (ICMUV), has carried out the first analysis of pigments of the paintings of Sorolla by Energy Dispersive X-Ray Fluorescence(EDXRF)
As world leaders, climate and energy scientists, and others examine our future climate, new ways of collaborating and communicating across different social sectors are becoming more crucial. What images and stories are evoked when you think about the future of the planet? Storytelling and images are basic tools for artists, and are increasingly recognized as critical tools for scientists, educators, and people interested in communicating science to broader public audiences. Science/arts collaborations have numerous benefits and can be challenging when partners have different lexicons for making sense of the world. This participatory session will explore the benefits and role of science/arts partnerships when communicating and engaging with stakeholders from varying backgrounds. Attendees will develop shared vocabulary and examine collaborative tools that can help both non-artists and non-scientists better communicate about climate change, energy policies, and other topics. For newcomers, this will be a 101 primer to community engagement and using the arts and/or collaborating with artists to reach broader audiences with your work. Experienced attendees will examine their own previous partnerships to reflect on the successes and learn from the challenges. Topics to be covered include: 1) understanding shared values between artists/scientists; 2) clarifying target audiences; and 3) identifying factors and components critical for healthy partnerships across sectors. Theater director and engagement strategist Ashley Sparks leads this interactive session and reflects on learnings from her partnership with the Energy Foundation, the Network for Energy, Water, and Health in Affordable Buildings, and the Natural Resources Defense Council. In partnership with engineers and technical experts she has been leading efforts to create a story bank focused on increasing energy efficiency in affordable multifamily housing.
FERNANDES,Sarah Maria Boldrini; CARRARA,Paulo; SERRÃO,Júlio Cerca; AMADIO,Alberto Carlos; MOCHIZUKI,Luis
Abstract The table vault is an event of male and female Artistics Gymnastics. Although it can be performed in a variety of rotations and body positions in different phases, it can be separated in three groups: handspring, Yurchenko and Tsukahara. It is believed that kinematic variables of vault may vary according to group of vault or gymnast body position, but few studies compares the real differences among the three groups of vaults, comparing and describing the variables in different phases...
Full Text Available As the amount of data being collected has increased, the need for tools that can enable the visual exploration of data has also grown. This has led to the development of a variety of widely used programming frameworks for information visualization. Unfortunately, such frameworks demand comprehensive visualization and coding skills and require users to develop visualization from scratch. An alternative is to create interactive visualization design environments that require little to no programming. However, these tools only supports a small portion of visual forms.We present a programmable integrated development environment (IDE, VisComposer, that supports the development of expressive visualization using a drag-and-drop visual interface. VisComposer exposes the programmability by customizing desired components within a modularized visualization composition pipeline, effectively balancing the capability gap between expert coders and visualization artists. The implemented system empowers users to compose comprehensive visualizations with real-time preview and optimization features, and supports prototyping, sharing and reuse of the effects by means of an intuitive visual composer. Visual programming and textual programming integrated in our system allow users to compose more complex visual effects while retaining the simplicity of use. We demonstrate the performance of VisComposer with a variety of examples and an informal user evaluation. Keywords: Information Visualization, Visualization authoring, Interactive development environment
Full Text Available This is a qualitative investigation to analyse native dance in North-eastern Thailand. There were three objectives for this investigation, which were to study the history of Isan folk dance, current dance postures and ways to conserve the current dance postures of Isan folk artists. Research tools were interview, observation, participation, focus group discussion and workshop. The purposively selected research sample was composed of 3 groups of national artists. The findings show that Isan folk dancer shave their own unique dancing styles. Each artist has his or her own identity, which is constructed based on personal experience of dancing and singing. Mor lam is a dance used to accompany traditional Isansung poetry. Modern dance postures have been adapted from the traditional forms. Dance postures have been adapted from three primary sources: traditional literature, the ethnic and Lanchang dancing in the Lao People’s Democratic Republic and rhythmic Khon Kaen compositions. The conclusions of this investigation suggest that preservation of the dancing arts and postures should centre on the incorporation of new knowledge, as well as the continuation of traditional dance postures. Further research is required for people interested in performing arts conservation in other provinces and other traditional performing arts.
Biographical novels about historical women artists have been experiencing a veritable boom in recent years. Written mostly by women, they can be understood as women authors' attempts to reach out across time (and often, space) to other "artistic" women whose lives "speak to us" today. It has long been a key insight of historical fiction research that a historical novel reveals more about the time in which it was written than the time in which it is set. As such, it can be assumed that contemporary novels about historical women speak as much to twenty-first-century conceptions of femininity as to particular historical moments of female subjectivity. This paper will compare two novels about historical women artists: Janice Galloway's Clara (2002) about nineteenth-century German pianist Clara Wieck-Schumann and Priya Parmar's Exit the Actress (2011) about Restoration actress Nell Gwyn. While based on historical facts, both these novels use the greater freedom of fiction to depart from biographical conventions. It will be demonstrated that although they resemble each other on the discourse level, employing shifts in the narrative perspective, conspicuous typography, and graphic elements, they differ markedly in the biographical and fictional subgenres in which they participate and, hence, in their gender politics.
Full Text Available Drawing on the case study of Real Vegan Cheese (RVC, a synthetic biology project housed in a community lab or “biohackerspace,” I argue that biohacking performs an “artistic critique” of the bioeconomy. Following Boltanski and Chiapello’s use of the term, the “artistic critique” pits values of autonomy and creativity against a view of capitalist production as standardized and alienating, represented (in the case of biotechnology by Monsanto’s monoculture GMOs. In this way, biohacking is depicted as liberating biotechnology from the constraints of corporate and academic institutions. Through the use of design fiction and a playful aesthetic, projects such as RVC demonstrate a more legitimate––with respect to the values of the artistic critique––mode of production for a new generation of biotechnology products, one that is portrayed as driven primarily by ethical and aesthetic values rather than the profit motive. This analysis highlights the role that aesthetic and affective strategies play in advancing particular sociotechnical visions, and the way that biohacking projects operate in symbiosis with incumbent institutions even as they define themselves in opposition to them. Finally, it suggests that biohacking has certain limitations when considered as a form of public engagement with science.
Full Text Available The paper argues that art collectors leveraged their library as one of the formative places of artistic taste. Acquiring knowledge through books may have helped shaping one’s artistic judgment, usually a mix of both intellective and emotional processes. Based on the Venetian case study of 17th-18th centuries patrician libraries, the paper explores the works used by art collectors in order to increase their discernment and artistic judgment: emblem, hieroglyphic and exempla books served as database of both pictorial and textual symbols which helped decipher paintings’ symbols and scenes. The Venetian libraries’ inventories and catalogues reveal the existence of two distinct phenomena: the inclusion of generic emblem printed books (with rare manuscript exceptions in almost all surveyed libraries and the presence of rare and sometimes costly emblem books, specifically tailored to the collector’s field of interest in several libraries. Moreover, the more professional art collectors shared knowledge and titles in order to cut on expenses, relying on the fact that at least one copy was to be found in Venice.
Blanke, Olaf; Pasqualini, Isabella
We here analyze the paintings and films of several visual artists, who suffered from a well-defined neuropsychological deficit, visuo-spatial hemineglect, following vascular stroke to the right brain. In our analysis we focus in particular on the oeuvre of Lovis Corinth and Luchino Visconti as both major artists continued to be highly productive over many years after their right brain damage. We analyzed their post-stroke paintings and films, indicate several aspects that differ from their pre-stroke work (omissions, use of color, perseveration, deformation), and propose-although both artists come from different times, countries, genres, and styles-that their post-stroke oeuvre reveals important similarities in style. We argue that these changes may be associated with visuo-spatial hemineglect and the right brain. We discuss future avenues of how the neuropsychological investigation of visual artists with and without neglect may allow us to investigate the relationship between brain and art.
Full Text Available Este artigo apresenta os primeiros resultados do projeto Itinerâncias Urbanas: os artistas e o campo das representações estéticas, que pretende mapear e analisar a produção e a consolidação do campo das artes visuais em Brasília, em três momentos significativos de sua história: os anos 50, quando se tornaram hegemônicos o paradigma racionalista em arquitetura e urbanismo, e o concretismo no Brasil; 1967, ano do quarto Salão Nacional de Artes Plásticas de Brasília, o último promovido pelo mecenato oficial, que tornou explícita a tendência conceitual na arte brasileira; e, finalmente o momento contemporâneo, ou seja, as duas últimas décadas, quando mudam os mecanismos de patrocínio e se torna mais explícita a relação entre arte e mercado. O artigo pretende ainda pontuar algumas questões mais substantivas, de natureza teórica, assim como alguns impasses de método.This article presents the first results of a research which aims at mapping and analyzing the construction and the consolidation of the field of the visual arts in Brasília. The whole project is divided into three significant moments of the city's history: the fifties, when the rationalist model in architecture and urban design, and concretism in the field of the arts became hegemonic; the late sixties, when conceptualism was strongly affirmed on the Brazilian art scene; and finally, the two last decades, which brought big changes to patronage and to art market strategies. The article also punctuate some theoretical and methodological remarks.
Lists recommended book titles for children on art, crafts, artists, optical illusions, and drawing. Provides the address for a Web site featuring art activities and information about artists for children. (PEN)
Awtuch, Anna; Gębczyńska-Janowicz, Agnieszka
The stereotype of a machine for healing seems to be well rooted in common thinking and social perception of hospital buildings. The technological aspect of healthcare architecture has been influenced for several years by three major factors. The first is linked to the necessity of providing safety and security in the environment of elevated epidemiological risk. The second concerns the need for incorporating advanced technology required for medical equipment and building infrastructure. Finally, the third relates to Cartesian dualism in medical sciences. Fortunately, healthcare architecture of 21st-century is in the process of dynamic transformations resulting from the change in approach to patients. The holistic perspective gradually enters into medical sciences, and as a result a patient is perceived as a human being whose needs are discussed on three equally important dimensions: biological, social and psychological. The new trend has influenced the design process of contemporary hospitals. One can observe a turn from the primacy of medical technology over environmental conditions towards the balance between medical requirements and psychological and social needs of hospital users. The research on the impact of hospital environment on therapeutic process gave rise to a new trend of incorporating arts into the space and form of medical facilities. Both architecture and interior design details are more carefully negotiated in terms of aesthetics. Designers expand the possibilities of exhibiting visual art in functional and spatial arrangement. The initiatives introducing artistic objects, installations and activities into medical spaces aim at increasing the efficiency of medical services, transforming the image of sterile hospital architecture and introducing high quality public space. These interventions generate the impact both on micro and macro scales and they concern several fields of activity and forms of art. The paper presents the scope of possibilities
The introduction of the staining method of Camillo Golgi in 1873 represented a giant step for neuroscience. Prior to this development, the visualization of neurons with the available histological techniques had been incomplete; it was only feasible to observe the cell body and the proximal portions of the dendrites and axon. However, with the Golgi method it was possible to observe neurons and glia with all their parts (cell body, dendrites, and axon in the case of neurons; cell body and processes in the case of glia). Due to the advantages of this method, all of a sudden it was possible to begin studying one of the great mysteries and critical issues of the organization of the nervous system-the tracing of the connections between neurons. Nevertheless, this method was not fully exploited until Santiago Ramón y Cajal arrived on the scene in 1888. It should be noted that, in Cajal's day, drawing was the most common method of describing microscopic images in the absence of the highly developed microphotography and other imaging techniques commonly available in today's laboratories. As a consequence, most scientific figures presented by the early neuroanatomists were their own drawings, providing an outlet for these scientists to express and develop their artistic talent. In the hands of Cajal, the Golgi method represented not only the principal tool that was to change the course of the history of neuroscience but also the discovery of a new artistic world, the neuronal forest. © 2013 Elsevier B.V. All rights reserved.
The study presents the emancipation of the artworks of psychiatric patients through the review of four centuries, focusing on some of the most important medical cultural and art historical stages of the period between the 18th and the 21st century, which is a particularly relevant era in this regard. It touches on the collections linked to psychiatrists and hospitals that were formed primarily on the basis of the researches that were analyzing the connection between creativity and mental illness. After that, the study discusses the ever-changing attitudes and preferences of artists' and major artistic movements towards psychosis and the pictorial world of the psychotic. With great care, it analyses the aesthetic category of the art brut, which is connected to the French painter Jean Dubuffet and was born in the middle of the 1940s, and the relationship between contemporary art and art brut. In connection with some of the most significant art brut collections and exhibitions, the works of a few classical and contemporary art brut artists are also discussed (Adolf Wolfli, Louis Soutter, Aloise Corbaz, August Walla ).
During the interwar, Lithuanian advertising was mostly developed in periodic press; advertisements in periodic press became a part of everyday life for various social classes. Visual side of graphical design of advertising strongly affected consciousness of consumers, but artistic and aesthetic value of it often was treated as an instrument of achieving commercial objectives. Thus, more interesting artistic solutions were chosen in exceptional cases only. In response to the requirement of the...
Full Text Available Abstract In France, the curricula for physical education (PE place gymnastic activities in a set of competences named “Achieving a corporal performance for artistic and acrobatic aims”, alongside dance and circus arts. What place does Artistic occupy in gymnastic activities? Is an aesthetic gesture sufficient to be considered as part of an artistic activity? Defining the term «Artistic» is difficult in the field of sports, as descriptions usually come from the technique/Artistic dichotomy. Our analysis focuses on rhythmic gymnastics (RG, which is precisely seen as emblematic of this technique/Artistic division: on the one hand, technical rigor, prescriptions and rules; on the other hand, grace, creation and self-expression. We believe such compartmentalized categories are too schematic to define gymnasts’ and students’ activities, so we will examine their articulation points. We first present an overview of RG as a school practice in ordinary forms of teaching, then an historical analysis of RG as a sports practice, to highlight the unbridgeable gap between both school and sports practices, regarding technique/Artistic connections. We then propose three significant points of articulation (called games closely combining technical requirements and artistic commitment. We consider that the variation of the three games played in GR (creating, making beautiful, representing is the product of historical dynamics of this sport we call artistic. Finally, on this basis, we propose a learning game for novice students promoting the artistic quality of RG practice.
McEwen, Rhonda; Zbitnew, Anne; Chatsick, Jennifer
What are the boundaries between traditional and new media, between ability and disability, and between the artist and the processes for making art? This article reports findings from a study of tablet devices as media for self-expression and visual storytelling by adults with intellectual disabilities and examined whether or not art-making…
Sónia Vespeira de Almeida
Full Text Available This article aims to analyse the idea of nation in Portuguese visual arts, exploring what announces the strengthening of the debate on national identity. Based on ethnography of the artistic field, I will discuss the network of intentionalities that underlies this tendency of Portuguese arts.
Artists' view on the world and the way they convey it in their work provide avenues towards understanding the evolution of our societies, as well as the status of scientific knowledge. Reflection of an ophthalmologist and painter who has explored view and gaze through the production of visual arts.
This historical research provides an examination of the embroidered word as a visual art piece, from early traditional examples to contemporary forms. It is intended to encourage appreciation of embroidery as an art form and to stimulate discussion about the role of historical contexts in the studio education of artists at the university level.…
Lauzon, Robb Conrad; Cooke, Laquana
This article addresses and explores hip-hop's reclamation of space using transit as a public bulletin. It is situated within counter-publics discourse and couched in the theoretical frameworks offered by visual rhetorical theory. This article also discusses hip-hop counter-publics through guerrilla advertising by former graffiti artists, SKI and…
Problem Statement: Johann Sebastian Bach is one of the leading composers of the baroque period. In addition to his huge contributions in the artistic dimension, he also served greatly in the field of education. This study has been done for determining the impact of visual memory-based memorization practices in the piano education on the visual…
Marc G. Lucas
Full Text Available The aim of this paper is to attempt to do justice to the chosen topic, including regarding its design. In a conscious distinction from the more conventional, materialistic, rationalistic, and quantitative approaches that prevail today in the economic and social sciences, the focus of this study will first be placed on consideration of images, contextualising the way in which I perceive them (first person perspective. Thus the paper is structured along sequential instances of experience and concomitant reflection bringing together such different paradigmatic positions as artistic and scientific approaches to individual and collective developments within an integrated approach that includes and transcends conventional thought. Together with statements from several artists and their works of visual arts (second person perspective and in a mutual exchange with third person approaches from current psychological, economic, and neuro-scientific debates this will create an integrated systemic image, which in particular allows a deeper look into the underlying overall developmental theme. Every section of the article will be introduced by two correspondent statements, one written from an artistic more introspective perspective and one from a philosophical or scientific position to point out the main tension experienced and discussed within the section. Main aim is to allow to arise cross-fertilization in the sense of a hermeneutic circle. This circle finds its dynamically-sustaining shape in the form of a Mobius strip. Philosophical contributions in particular from phenomenology and complexity theory complete the picture, thus creating a conscious draft, which is aware of its own subjectivity. Ultimately the simultaneous inclusion of artistic and creative skills carried out in this article, goes beyond individual paradigms of a formal logic inherent in existing theories of development toward a more inclusive and visionary logic of the art looked at
Dooley, J.; Courville, Z.; Artinian, E.
BackgroundStreet Road Artists Space Summer 2015 show was Sailing Stones. Works presented scenarios on tension between transience and permanence, highlighting cultural constructs imposed onto landscape and place. Dooley's installation, CryoZen Garden, operated as visual metaphor, modeling cryospheric processes and explored effects of melting polar ice caps on a warming world. A grant from Pennsylvania Partners in the Arts, with a focus on sharing contemporary works which were participatory, conceptual, and polar science research-based, allowed for a new project to engage community members, particularly students.MethodsIn this project students were introduced to the work of Dooley, artist/educator and Courville, snow/ice researcher. Students created `Life Cores', a take on ice and sediment coring scientists use as evidence of Earth's atmospheric and geologic changes. Students were given plastic tubes 2' long and 2" in diameter and were asked to add a daily layer of materials taken from everyday life, for a one month period. Students chose materials important to them personally, and kept journals, reflecting on items' significance, and/or relationship to life and world events. After creation of the Life Cores, Courville and Dooley visited students, shared their work on polar research, what it's like to live and work on ice, and ways science and art can intertwine to create better understanding of climate change issues. Students used core logging sheets to make observations of each others' life cores, noting layer colors, textures and deposition rates as some of the characteristics researchers use in ice and sediment core interpretation. Students' work was exhibited at Street Road and will remain on Street Road's website. Courville and Dooley presented to the general public during the opening. ConclusionsParticipants were better able to answer the question, How do we know what we know from coring? by relating the science to something that is known and personal, such as
Akinola, Modupe; Mendes, Wendy Berry
Historical and empirical data have linked artistic creativity to depression and other affective disorders. This study examined how vulnerability to experiencing negative affect, measured with biological products, and intense negative emotions influenced artistic creativity. The authors assessed participants' baseline levels of an adrenal steroid (dehydroepiandrosterone-sulfate, or DHEAS), previously linked to depression, as a measure of affective vulnerability. They then manipulated emotional responses by randomly assigning participants to receive social rejection or social approval or to a nonsocial situation. Participants then completed artistic collages, which were later evaluated by artists. Results confirmed a person-by-situation interaction. Social rejection was associated with greater artistic creativity; however, the interaction between affective vulnerability (lower baseline DHEAS) and condition was significant, suggesting that situational triggers of negative affect were especially influential among those lower in DHEAS, which resulted in the most creative products. These data provide evidence of possible biological and social pathways to artistic creativity.
Full Text Available Technical reproduction in general, and photography in particular have changed the status and practices of art. Similarly, the expansion of Web 2.0 interactive spaces presents opportunities and challenges to artistic communities. Present study focuses on artistic activism: socially sensitive artists publish their creation on the internet on its most interactive space – social media. These artworks carry both artistic and social messages. Such practices force us to reinterpret some elements of the classical art paradigm: its autonomy, authorship, uniqueness (as opposed to copies and series, and the social role of art. The analysis is aimed at Hungarian and Romanian online artistic projects from Transylvania region of Romania, relevant as intercultural communication endeavours. Our research question is the way they differ from the traditional artistic paradigm.
Akinola, Modupe; Mendes, Wendy Berry
Historical and empirical data have linked artistic creativity to depression and other affective disorders. This study examined how vulnerability to experiencing negative affect, measured with biological products, and intense negative emotions influenced artistic creativity. The authors assessed participants' baseline levels of an adrenal steroid (dehydroepiandrosterone-sulfate, or DHEAS), previously linked to depression, as a measure of affective vulnerability. They then manipulated emotional responses by randomly assigning participants to receive social rejection or social approval or to a nonsocial situation. Participants then completed artistic collages, which were later evaluated by artists. Results confirmed a person-by-situation interaction. Social rejection was associated with greater artistic creativity; however, the interaction between affective vulnerability (lower baseline DHEAS) and condition was significant, suggesting that situational triggers of negative affect were especially influential among those lower in DHEAS, which resulted in the most creative products. These data provide evidence of possible biological and social pathways to artistic creativity. PMID:18832338
Abd Nasir Ibrahim; Azali Muhammad; Ab Razak Hamzah; Abd Aziz Mohamed; Mohammad Pauzi Ismail
The following subjects are discussed - Emergency Procedures: emergency equipment, emergency procedures; emergency procedure involving X-Ray equipment; emergency procedure involving radioactive sources
Dennis de Kool
Full Text Available Dutch garden sculpture from the 18 th century is worthy of more systematic study. Such research may offer valuable insights into the position of garden sculpture within sculpture proper and its meaning in 18 th-century garden art. Jan Baptist Xavery is regarded as one of the most important sculptors working in the Netherlands during the 18 th century. His artistic career, his versatile body of work and his influence on other artists should therefore be studied in more depth. In view of the bloom in garden art in those days Xavery's significance as a 'garden artist' should not be overlooked in such a study. Garden sculptures should not be regarded as independent objects or pure decorative elements, but must be considered within the wider context of garden history. Tragically, many garden ornaments have been removed from their natural green environment. In their new settings they sometimes acquire a new meaning, but more often than not they are not done justice as the original harmonious 'composition' has been lost. As a result, this cultural-historical heritage is often treated indifferently. The few garden sculptures that have survived all calamities and can still be admired in public places are often placed at unsuitable locations and suffer from the weather or vandalism. Many garden sculptures, often damaged, have ended up anonymously in museum depots. Although they are safe there, the dreary catacombs of museums are a far cry from the green surroundings for which they were originally intended. Garden ornaments were, after all, not made for depots but to be looked at, studied and admired by enthusiasts, preferably in green surroundings. Otherwise, they will literally disappear from collective memory. Surely, the talented Jan Baptist Xavery and his contemporaries deserve a better fate than that.
This dissertation focuses on the visual representation of generational politics as it changed during Imperial, Soviet and Post Soviet periods. It argues that the most important shift in visual representation of power relations between generations in Central Asia took place in the late 1920s when a group of cultural producers, which this dissertation introduces as Transsoveticus, entered the Soviet art and film industries. This dissertation demonstrates ways in which these artists and filmmak...
Facebook has established itself as one of the major players in social networking, claiming that it helps members connect and share with the people in their lives. But what if the people you want to connect and share with are your artistic collaborators? Can Facebook be used creatively, as a collaborative artistic environment? This paper explores the creative use of Facebook as a tool for creative collaboration and establishes a number of possible models of artistic collaboration using Facebook.
Abdulvahid Dlshad Nihad
Purpose: to study the organizational and pedagogical conditions of selection of children for occupations existing in the republic Kurdistan artistic gymnastics Material and Methods: questioning of 24 trainers on artistic gymnastics and experts in physical culture of the republic Kurdistan was carried out. The general questions of selection and methodical features of selection of children for occupations by artistic gymnastics in Kurdistan were studied. Results: questioning revealed absence of...
Working in a period when the western modernist focus on the originality of the artist, painterly form and composition had given way to more post Duchampian practices such as reappropriation, performance and the role of the spectator in creating artistic meaning, this paper will focus on works by Gerhard Richter, Anselm Kiefer and Gustav Metzger. This paper will evaluate how these artists perform the photograph in three divergent yet distinctly post-Duchampian ways in order to articulate chall...
Pazzagli, Adolfo; Rossi Monti, Mario
The authors explore the psychic passages that were opened up within a patient, Ada, thanks to her contact with two works of art, Signorelli's frescoes in Orvieto and Picasso's painting La Nageuse--their themes, formal structures, and the conventions governing their creation. A work of art can be considered as a kind of window that allows one to look upon the imaginary world created by the artist. One can peer out of this window from the other side, permitting a look at the viewer (the patient), who is caught in a web of associations that are yet to be explored.
de la Flor, Mike
Digital sculpting is the use of tools to push, pull, smooth, grab, pinch or otherwise manipulate a digital object as if it were made of a real-life substance such as clay. Mudbox is the premier sculpting solution for digital artists, allowing them to naturally and easily sculpt detailed, organic characters and models in a way that feels like traditional sculpting.This book guides CG professionals through the process of creating amazing digital sculptures using the Mudbox arsenal of ground-breaking digital sculpting and 3D painting tools, and porting the models into their Maya or Max work.Artis
Doellner, Juergen; Buchholz, Henrik; Nienhaus, Marc; Kirsch, Florian
This paper presents an illustrative visualization technique that provides expressive representations of large-scale 3D city models, inspired by the tradition of artistic and cartographic visualizations typically found in bird"s-eye view and panoramic maps. We define a collection of city model components and a real-time multi-pass rendering algorithm that achieves comprehensible, abstract 3D city model depictions based on edge enhancement, color-based and shadow-based depth cues, and procedural facade texturing. Illustrative visualization provides an effective visual interface to urban spatial information and associated thematic information complementing visual interfaces based on the Virtual Reality paradigm, offering a huge potential for graphics design. Primary application areas include city and landscape planning, cartoon worlds in computer games, and tourist information systems.
Full Text Available Arts of Life is an innovative, Chicago-based day program where artists with and without disabilities have the opportunity to participate in artwork. It was created out of an identified need for individuals with a developmental disability to foster community engagement in artistic endeavors. Arts of Life has its foundation in four core values: inspiring artistic expression, building community, promoting self-respect, and developing independence. It bases its programming on these values, which help to maintain a collective environment that promotes artistic freedom for all individuals.
Bao, Yan; Yang, Taoxi; Zhang, Jinfan; Zhang, Jiyuan; Lin, Xiaoxiong; Paolini, Marco; Pöppel, Ernst; Silveira, Sarita
The eminent Chinese artist LaoZhu has created a homogeneous set of abstract pictures that are referred to as the "third abstraction." By definition, these pictures are meant to be representations of the artist's personal involvement and as such to create an internal point of view in the observer on an implicit level of processing. Aiming at investigating whether the artist's choice of a specific color is experienced in a specific way in the recipient, we assessed both explicit and implicit (i.e. neurocognitive) correlates in naive viewers of LaoZhu's pieces. The behavioral results reveal a preference of the original red paintings over color-changed counterparts in green or black. Paradoxically and inconsistent with predictions, we found higher levels of neural activation in several brain regions (predominantly in the frontal and parietal cortices) for the color-changed compared to the original red conditions. These observations add empirically to the complementarity of early visual pathways and higher-order cognition as well as of explicit and implicit information processing during aesthetic appreciation. We discuss our findings in light of processing effort and top-down control of the color-changed paintings. With regard to the third abstraction as defined by LaoZhu, in particular to the distinction between an external and internal point of view when viewing abstract art, our results contribute to an understanding of "abstraction and empathy" as a fundamental part of aesthetic appreciations. © 2017 The Institute of Psychology, Chinese Academy of Sciences and John Wiley & Sons Australia, Ltd.
Ladino, Lady Diana; Rizvi, Syed; Téllez-Zenteno, Jose Francisco
The historical allure of epilepsy transcends academic circles and serves as fascinating critique of the state of the times-its values, judgments, mythos, and people. Immortalized and laid bare in artistic renderings of epilepsy are societal truths, at times both disparately grandiose and grotesque. During the middle ages and Renaissance, the European discourse on epilepsy assumed religious fervor. Epilepsy was considered a demonic machination and its cure an act of divine intercession. A similar theme is found in the artistic depiction of epilepsy from the Inca and Aztec civilizations of that time. After the 19th century drew to a close, the ascendency of empiricism coincided with waning creative interest in epilepsy, with few paintings or pieces to capture insightful perspectives on the illness. In this paper, we review the relationship between art and epilepsy and present two contemporary paintings that convey current western perceptions. This article is part of a Special Issue entitled "Epilepsy, Art, and Creativity". Copyright © 2016 Elsevier Inc. All rights reserved.
Ross, Paula T; Lypson, Monica L
Physician bias toward patients directly impacts patient care and health outcomes. However, too little research has been done investigating avenues to bring about self-awareness in this area to eliminate commonly held stereotypes that fuel physician bias. The purpose of this study was to explore the ways in which 2nd-year medical students' reflected on an artistic-narrative presentation given by a woman with sickle cell disease. A total of 320 2nd-year medical student essays were reviewed for content relevant to the artistic-narrative presentation. A total of 75 essays were identified and served as the data for this study. These 75 essays were analyzed using qualitative interpretive thematic content analysis to identify students' perceptions and reflections on culture in the healthcare environment and the patient-provider relationship. The analysis of the reflective essays revealed that this exercise helped students acknowledge physician bias in pain treatment, foster empathetic views toward patients as individuals, and recognize various ways in which biased beliefs can provide incite in healthcare disparities. These findings suggest that the combination of methods--art, narrative, and written reflection--helped students acknowledge their own bias as well as the ways in which taken-for-granted assumptions and biases can influence patient care.
María Elena Lucero
Full Text Available Relecting on identities in Latin America in the space of visual arts leads to an analytical revision not only of alternative versions of the cultural past, but also of the way in which transnationality has affected contemporary practices, especially through extended periods of exile, diaspora, migrations and displacements. One possible conceptual weapon would be the use of irony or parody. In this aspect, the Colombian artist Nadín Ospina synthesizes possible exchanges between symbolic productions of the Pre-Hispanic period, current fetishized merchandise, and certain imaginaries linked to the media. Projected from the place of sarcasm, Ospina materializes these fetish objects that allude to the exotic nickna megiven by Europe to American visuality andresets cultural difference to the extreme of potentializingit and putting it in lux. On the other hand, Calimocho Styles, the duo between the Mexicanartists Ruben Ortiz Torres and Eduardo Abaroa examines unstable and changing cultural identities that emerge from the continuous border crossing between Mexico and United States, inquiring into ambivalent strategies of generating cultural products and proposing contemporary ictions from iconic referents of mass consumption. In both cases, hybrid visual proposals are generated, which create a space for numerous inquiries and discussions on interculturality and its incidence in Latin America.
This is the first ever book on augmented reality art. It is written by a team of world-leading artists, researchers and practitioners, pioneering in the use of augmented reality technology as a novel artistic medium. The book explores a wide range of major aspects of augmented reality art and its enabling technology. It is intended to be a starting point and essential reading not only for artists, researchers and technology developers, but also for students (both graduates and undergraduates) and everyone who is interested in emerging augmented reality technology and its current and future app
Belke, B; Leder, H; Harsanyi, G; Carbon, C C
We investigated whether art is distinguished from other real world objects in human cognition, in that art allows for a special memorial representation and identification based on artists' specific stylistic appearances. Testing art-experienced viewers, converging empirical evidence from three experiments, which have proved sensitive to addressing the question of initial object recognition, suggest that identification of visual art is at the subordinate level of the producing artist. Specifically, in a free naming task it was found that art-objects as opposed to non-art-objects were most frequently named with subordinate level categories, with the artist's name as the most frequent category (Experiment 1). In a category-verification task (Experiment 2), art-objects were recognized faster than non-art-objects on the subordinate level with the artist's name. In a conceptual priming task, subordinate primes of artists' names facilitated matching responses to art-objects but subordinate primes did not facilitate responses to non-art-objects (Experiment 3). Collectively, these results suggest that the artist's name has a special status in the memorial representation of visual art and serves as a predominant entry point in recognition in art perception. Copyright 2009 Elsevier B.V. All rights reserved.
Snyder, Scott; Fisk, Timarie
Teaching artists have significant roles within K-12 schools. Although some research has been conducted to describe the characteristics, training, and employment experiences of teaching artists, no study has been conducted concerning the self-efficacy that such individuals have regarding teaching. The purpose of the study was to investigate the…
Middleton, Jerry C.; Middleton, Jason A.
Few studies in the existent empirical literature explore the career transitions of performing artists. First, we provide working definitions of career transition and of a performing artist. Thereafter, we peruse empirical studies, from the 1980s onward, that delineate the career transition process in terms of three main types of transition:…
This paper investigates teaching artists in the USA whose work is rooted in dance and dance-related disciplines. Teaching artists, although the descriptor itself remains both ambiguous and debated in the USA, provide a good deal of arts education delivery in K12 schools and afterschool programs. Based on survey data from a range of dance teaching…
Salsa, Analía M.; Vivaldi, Romina A.
Three studies investigated the effects of pedagogical cues to an artist's referential intention on 2- and 2.5-year-old children's understanding of drawings in a matching task without verbal labels support. Results showed that pedagogical cues, the combination of the artist's eye gaze while she was creating the drawings (nonlinguistic cues), and…
Discusses how the author uses Allen Say's picture storybooks to introduce intimidating (even to adults!) artistic language and concepts. Elaborates on several books that she used with her third-grade students. Demonstrates that a meaningful encounter with a skilled artist can change the way students see art in literary experiences and in their…
Artistic creativity of martiros saryan as the indicator of national self-identification of the personality in a multicultural space: features of methodology of a ... In this article, the life and works of the famous Armenian artist, founder of the modern Armenian school of painting Martiros Saryan (1880-1972) are analyzed in the context ...
Risner, Doug; Anderson, Mary Elizabeth
Drawn from the authors' larger study of teaching artists in dance and theatre arts (Anderson and Risner, Hybrid Lives), this analysis investigated participants' (n = 172) attitudes and beliefs about the need and relevance of a teaching artist credential or certificate. Data were obtained through an in-depth, online survey, electronic…
Lech, Marcel Lysgaard
In this article, I discuss the earliest nomenclature of the Athenian artists of Dionysus, which I will argue is not only unique among the overall evidence on Dionysiac artists available to us at this point, but also evinces a recognized political potential in the newly organized association of th...
Carvalho, Claudia Pato
This article discusses how biographical materials may be used in youth arts education projects to develop new methodologies and approaches that can stimulate artistic and social intervention in contemporary urban communities, thus changing the field of arts education policy at the community level. Through their creation of Artistic Society…
Full Text Available The key hypothesis of the article is that successful inter-mediation of art to vulnerable groups of people (including children depends on the correct identification of the nature of an artistic act and on the meaning that handicap—as an instance of otherness—has in the life of artists and spectators. A just access to the artistic experience is basically not the question of the distribution of artistic production (since if artistic object is principally accessible to all people, it will not reach vulnerable groups of spectators, but of ensuring artistic creativity and presentation. This presupposes a spectator as a competent being who is able to interact with the artistic object without our interpretative explanation and who is sensible to the instance of otherness (handicap is merely a specific form of otherness. The theory of emancipation from J. Ranciere, the theory of recognition from A. Honneth, and the theory of narration from P. Ricoeur and R. Kearney, as well as our experiences with a comprehensive inductive approach and artistic experience as one of its basic educational methods offer us a theoretical framework for such a model of art inter-mediation.
This study is an attempt to determine what level of artistic perception or art taste is brought into the classroom by students in schools of journalism and whether it can be demonstrated that design instruction can raise the level of artistic perception among journalism and advertising students. It was hypothesized that women would score higher in…
It is a consensus among scholars that the greatest contributions of Africans to civilization are in the arts. Great European artists like Pablo Picasso, Georges Braque and others had to copy African art styles to change the face of European art in the early 20th century. Today, contemporary African artists have the zeal and ...
Ambrose-Smith, Neal; Smith, Janue Quick-to-See
This Instructional Resource relates the experiences of Native American artist Neal Ambrose-Smith, who views himself not only as an artist with a studio practice, but also as an "Arts Worker" who pursues learning new knowledge with his arts-related jobs. Painting, sculpting, and printmaking are only three areas of his studio practice. He…
Iszaj, Fruzsina; Ehmann, Bea; Griffiths, Mark D; Demetrovics, Zsolt
Psychoactive substance use has often been claimed to help generate and facilitate the artistic creative process. This study explored the role of artists' substance use in their creative processes and their efforts to balance between enhancement and relaxation. Semistructured interviews concerning the artistic creative process and the role of psychoactive substance use were recorded with 72 artists and analyzed using content analysis. The participants were classified according to their substance use in three groups (Cannabis Group, Alcohol Group, and Control Group). Results show that both alcohol and cannabis were used to facilitate creativity and the emotional states that are necessary for the artistic creative process. Participants in the Control group reported that listening to music might function as a mind-altering tool. It was also found that for some artists, substance use is not only characteristic to creation, but it is also part of their everyday lives. Artists are aware of the balancing phenomenon during the artistic creative process. Whether psychoactive substance(s) or other environmental stimuli (such as music) are used to reach the required effect appears to depend upon the individual.
Bentley, Dana Frantz
This study addresses the role of artistic practice as it exists in the lives of young children. Viewing children as unified learners (Dewey, 1902; Franklin, 1994), the role of artistic practice is reconceptualized as a tool which children employ fluidly throughout their daily experiences, rather than as belonging to a discreet subject. The…
Bullot, Nicolas J; Reber, Rolf
The Distancing-Embracing model does not have the conceptual resources to explain artistic misunderstandings and the emotional consequences of historical learning in the arts. Specifically, it suggests implausible predictions about emotional distancing caused by art schemata (e.g., misunderstandings of artistic intentions and contexts). These problems show the need for further inquiries into how historical contextualization modulates negative emotions in the arts.
Florea, Corneliu; Toca, Cosmin; Gieseke, Fabian Cristian
We address the problem of automatically recognizing artistic movement in digitized paintings. We make the following contributions: Firstly, we introduce a large digitized painting database that contains refined annotations of artistic movement. Secondly, we propose a new system for the automatic...
More than once, the European Court of Human Rights (hereafter: ECtHR) has attended to cases concerning novels, movies, paintings and other forms of artistic expression. The Court has tried to fit in artistic expression in its more general approach that often makes a decisive distinction between
Wadeson, Amy; Nijholt, Antinus; Nam, Chang S.
Artistic BCI applications offer a new modality for humans to express themselves creatively. In this survey we reviewed the available literature on artistic BCIs by classifying four types of user control afforded by the available applications: selective control, passive control, direct control and
Maria do Rosário Sousa
Full Text Available The present article presents a doctoral investigation. It mainly focuses on an action research whose problematic is based on the search for didactic-pedagogical paths which contribute to intercultural openness and change within schools allowing for better social integration. We have chosen the trilogy music, arts education and interculturality to address the central problematics of this research. Therefore an Intercultural Musical Program was conceived, implemented and assessed in three Portuguese Elementary/Preparatory schools. The main leading forces guiding this Program are attached to four areas, which constitute the theoretical/conceptual frame of this research: • Artistic education as a priority in education; • Intercultural education as a response to a growing cultural diversity; • The role of music as an harnessing methodology for intercultural communication; • Arts Programs as globalising impulses for human development and the preservation of cultural heritage. The empirical work rests on a methodology of qualitative analysis based on Renald Legendre’s (1993, 2005 model of Pedagogical Relationship (PR, combined with a strong influence of Visual Anthropology. The attained results are indicators of the high relevance and participation, as well as of the transforming impact of this action research, as a facilitator of intercultural communication and education among communities.
Full Text Available The study and research described in this paper aims to reveal the unexplored aesthetical role of colors used for the ceramics in a mosque from the Marinid dynasty in Tlemcen, Algeria. The methodological approach consists firstly, of a formal analysis of the mosque’s artwork by describing its elements and composition and related principles.Secondly, the patterns and geometries are analyzed in-depth using artistic color concepts and laws of color contrast. The analysis demonstrates that the contrasts between bright, pure and dynamic colors provide luminosity, dynamism, rhythm, brightness and an optical mix. The color contrasts are also found to provide visual illusions of mass, volume or movement, as well as depth and relief that ultimately result in influencing the overall ambience of the mosque. The study thus enables the chromatic authenticity of this architectural heritage to be preserved by providing the necessary data for potential conservation, as well as providing a basis for innovative principles in expressing contemporary architecture.
Marloes W. Hemmer
Full Text Available This article will focus on the transmission of artistic ideas and the importance of personal networks as an active force in shaping artistic phenomena. In this contribution I will concentrate on the transmission of Rubens’s artistic ideas and knowledge from the Southern to the Northern Netherlands, concentrating on the work of Pieter de Grebber. My contribution will emphasize how this young artist from Haarlem had access to Rubens’s artistic ideas and knowledge in a period that his work was not yet widely spread in the Northern Netherlands. It will give new insights into how networks and objects led to creative imitation with innovative results that constituted a vital contribution to history painting in the Northern Netherlands.
Full Text Available In the areas now known as Estonia and Latvia, art remained a matter for the Baltic German minority throughout the nineteenth century. When ethnic Estonian and Latvian artists gained prominence in the late 1890s, their presence threatened Baltic German hegemony over the region’s culture. In 1905, revolution in the Russian Empire spilled into the Baltic Provinces, sparking widespread anti-German violence. The revolution also galvanized Latvian and Estonian artists towards greater cultural autonomy and independence from Baltic German artistic institutions. This paper argues that the situation for artists before and after the 1905 revolution was not simply divisive along ethnic lines, as some nationalist historians have suggested. Instead, this paper examines how Baltic German, Estonian and Latvian artists oscillated between common interests, inspiring rivalries, and politicized conflicts, questioning the legitimacy of art as a universalizing language in multicultural societies.
Full Text Available Since the earliest of times, islands have captured the artistic imagination—and, often, for the artist who finds his or her muse in being ‘islanded’, the smaller the island the better. Archipelagos offer an ideal setting for artists who take their inspiration from place: on small islands off islands they can experience an intensity of island living they might not otherwise have on a main island: boundedness and connection, isolation and community. This paper examines expressions of islandness by artists who live on islands off islands that are poles apart—‘archipelagos’ of the Canadian North Atlantic and the Great Southern Ocean. It draws upon interviews with those artists and writers to consider the nature of humans’ attachment and attraction to islands, exploring through the lens of phenomenology what Stratford et al. call the “entanglement between and among islands”.
[figure removed for brevity, see original site] Poster Version Suppression of Star Formation from Supermassive Black Holes This artist's concept depicts a supermassive black hole at the center of a galaxy. NASA's Galaxy Evolution Explorer found evidence that black holes -- once they grow to a critical size -- stifle the formation of new stars in elliptical galaxies. Black holes are thought to do this by heating up and blasting away the gas that fuels star formation. The blue color here represents radiation pouring out from material very close to the black hole. The grayish structure surrounding the black hole, called a torus, is made up of gas and dust. Beyond the torus, only the old red-colored stars that make up the galaxy can be seen. There are no new stars in the galaxy.
Giancristofaro, Cristina; Pilloni, Luciano; Rinaldi, Antonio; Persia, Franca; D'Amato, Rosaria; Caneve, Luisa
In this work, the effectiveness of nanocomposite surface treatments as protective systems for artistic stones was evaluated. Pyrolitic silica and titania nanoparticles were dispersed in a commercial silicon-based polymer and applied on marble and travertine samples. Artificial aging processes, both in climatic chamber and in solar box, were carried out to simulate real degradation processes in terms of photo-thermal effects and physical-chemical damage. The performances of the nanocomposites used as consolidant were evaluated comparatively by means of diverse diagnostic techniques, namely: scanning electron microscopy (SEM), laser induced fluorescence (LIF), ultrasonic technique, colorimetry, total immersion water absorption and contact angle. The results show that some properties of conservation materials can be improved by the presences of nanoparticles because they induce substantial changes of surface morphology of the coating layer and counter the physical damage observed during artificial weathering
Chiavari, C.; Colledan, A.; Frignani, A.; Brunoro, G.
By electrochemical and accelerated weathering tests, the corrosion behaviour of a new type of tin-bronze, containing about 3 wt.% silicon (SI3 bronze) was compared to a traditional 5% Sn, 5% Zn, 5% Pb bronze used for artistic castings (G85 bronze) under conditions simulating urban-industrial and marine environments. The aggressive media were: a synthetic pH 3.1 acid rain (AR) solution; a typical moist SO 2 -NO x for a climatic chamber and AR or 3.5% NaCl aqueous solution for salt spray cabinet. In all the environments the corrosion product layers formed on SI3 bronze were more uniform and protective than those formed on the traditional G85 bronze. The nature and morphology of the corrosion products were investigated by X-ray diffraction (XRD), optical and scanning electron microscopy with microprobe (SEM-EDS), atomic force microscopy (AFM)
Clues to the formation of planets and planetary rings -- like Saturn's dazzling ring system -- may be found by studying how dust grains interact as they collide at low speeds. To study the question of low-speed dust collisions, NASA sponsored the COLLisions Into Dust Experiment (COLLIDE) at the University of Colorado. It was designed to spring-launch marble-size projectiles into trays of powder similar to space or lunar dust. COLLIDE-1 (1998) discovered that collisions below a certain energy threshold eject no material. COLLIDE-2 was designed to identify where the threshold is. In COLLIDE-2, scientists nudged small projectiles into dust beds and recorded how the dust splashed outward (video frame at top; artist's rendering at bottom). The slowest impactor ejected no material and stuck in the target. The faster impactors produced ejecta; some rebounded while others stuck in the target.
Giancristofaro, Cristina; Pilloni, Luciano; Rinaldi, Antonio; Persia, Franca [ENEA-UTTMAT, CR Casaccia, v. Anguillarese 301,00123 Rome (Italy); D' Amato, Rosaria; Caneve, Luisa [ENEA-UTAPRAD, CR Frascati, v. Enrico Fermi 45, 00044 Frascati (Rome) (Italy)
In this work, the effectiveness of nanocomposite surface treatments as protective systems for artistic stones was evaluated. Pyrolitic silica and titania nanoparticles were dispersed in a commercial silicon-based polymer and applied on marble and travertine samples. Artificial aging processes, both in climatic chamber and in solar box, were carried out to simulate real degradation processes in terms of photo-thermal effects and physical-chemical damage. The performances of the nanocomposites used as consolidant were evaluated comparatively by means of diverse diagnostic techniques, namely: scanning electron microscopy (SEM), laser induced fluorescence (LIF), ultrasonic technique, colorimetry, total immersion water absorption and contact angle. The results show that some properties of conservation materials can be improved by the presences of nanoparticles because they induce substantial changes of surface morphology of the coating layer and counter the physical damage observed during artificial weathering.
Giancristofaro, Cristina; D'Amato, Rosaria; Caneve, Luisa; Pilloni, Luciano; Rinaldi, Antonio; Persia, Franca
In this work, the effectiveness of nanocomposite surface treatments as protective systems for artistic stones was evaluated. Pyrolitic silica and titania nanoparticles were dispersed in a commercial silicon-based polymer and applied on marble and travertine samples. Artificial aging processes, both in climatic chamber and in solar box, were carried out to simulate real degradation processes in terms of photo-thermal effects and physical-chemical damage. The performances of the nanocomposites used as consolidant were evaluated comparatively by means of diverse diagnostic techniques, namely: scanning electron microscopy (SEM), laser induced fluorescence (LIF), ultrasonic technique, colorimetry, total immersion water absorption and contact angle. The results show that some properties of conservation materials can be improved by the presences of nanoparticles because they induce substantial changes of surface morphology of the coating layer and counter the physical damage observed during artificial weathering.
This artist's conception of NASA's Mars Science Laboratory portrays use of the rover's ChemCam instrument to identify the chemical composition of a rock sample on the surface of Mars. ChemCam is innovative for planetary exploration in using a technique referred to as laser breakdown spectroscopy to determine the chemical composition of samples from distances of up to about 8 meters (25 feet) away. ChemCam is led by a team at the Los Alamos National Laboratory and the Centre d'Etude Spatiale des Rayonnements in Toulouse, France. Mars Science Laboratory, a mobile robot for investigating Mars' past or present ability to sustain microbial life, is in development at NASA's Jet Propulsion Laboratory for a launch opportunity in 2009. The mission is managed by JPL, a division of the California Institute of Technology, Pasadena, Calif., for the NASA Science Mission Directorate, Washington.
Matías David López
Full Text Available This paper analyzes the discursive construction of El Día -the main commercial mass media of La Plata (Argentina- about different local practices of cultural intervention. The methodological focus allows the interpretation of mass media as “political actors”, who take part in the production of social discourses and senses. The materials consist in diverse publications of El Día: notes, chronicles, editorials, among others. To examine these materials, is used the analysis of content and interviews realized to some of the involved actors. As a result of the work, is recognized the production of a symbolic economy, going between negativity and certain recognition of some practices, as long as they are read like "artistic". At the same time, is entrusts them the task of “stopping the vandalism” that nests in the urban space.
Full Text Available The primary focus of this paper is to investigate why artists are drawn to working in history museums, and how an artist-driven critique of museum practices encourages dialogue about artistic and historical authority, and the role of the museum. Drawing from the fields of public history, art history, anthropology, and journalism, this study argues that artists play an important role in fostering multiple interpretations within traditional historical and academically informed museum practices. The primary theorists influencing this study include Art Historian, Douglas Crimp and his analysis of postmodernism; Professor of Art Education, Dipti Desai and her theory of ethnographic shift; Modern European Historian, Susan Crane and her theory of disruption or “excess of memory”; English Professor, Bettina Carbonell and her theory of “bearing witness”; and Patricia Romney’s analysis of Russian Philosopher, Mikhail Bakhtin and his theory of dialogism. As an outgrowth of this pre-existing scholarship, this study sought to prove that artists were better positioned to intervene in and manipulate traditional museum practices, not because they helped facilitate shared authority, but because they asserted their own artistic authority in the creation of alternative narratives. Through an analysis comparing Fred Wilson’s installation Liberty/Liberte—shown first in the 2006-2007 exhibition Legacies: Contemporary Artists Reflect on Slavery at the New-York Historical Society, and then in its current placement as part of the Historical Society’s official renovations—this study instead concludes that artists are more than capable of successful interventions in non-art environments – specifically, history museums. However, the context in which the artwork is placed, as well as the conversation between the artist and the institution throughout the duration of any project, has the power to make or break the success of these artist interventions.
Health Services and Mental Health Administration (DHEW), Bethesda, MD.
This annotated bibliography contains books, journal articles, visual aids, and other documents pertaining to emergency health care, which are organized according to: (1) publications dealing with day-to-day health emergencies that occur at home, work, and play, (2) documents that will help communities prepare for emergencies, including natural…
What. This chapter concerns how visual methods and visual materials can support visually oriented, collaborative, and creative learning processes in education. The focus is on facilitation (guiding, teaching) with visual methods in learning processes that are designerly or involve design. Visual...... methods are exemplified through two university classroom cases about collaborative idea generation processes. The visual methods and materials in the cases are photo elicitation using photo cards, and modeling with LEGO Serious Play sets. Why. The goal is to encourage the reader, whether student...... or professional, to facilitate with visual methods in a critical, reflective, and experimental way. The chapter offers recommendations for facilitating with visual methods to support playful, emergent designerly processes. The chapter also has a critical, situated perspective. Where. This chapter offers case...
... Campaigns Share this! EmergencyCareForYou » Emergency 101 » Diabetic Emergencies Diabetic Emergencies It is estimated that more than 20 ... they have it. The best way to prevent diabetic emergencies is to effectively manage the disease through ...
Margolis, Todd; Cornish, Tracy; Berry, Rodney; DeFanti, Thomas A.
Our contemporary imaginings of technological engagement with digital environments has transitioned from flying through Virtual Reality to mobile interactions with the physical world through personal media devices. Experiences technologically mediated through social interactivity within physical environments are now being preferenced over isolated environments such as CAVEs or HMDs. Examples of this trend can be seen in early tele-collaborative artworks which strove to use advanced networking to join multiple participants in shared virtual environments. Recent developments in mobile AR allow untethered access to such shared realities in places far removed from labs and home entertainment environments, and without the bulky and expensive technologies attached to our bodies that accompany most VR. This paper addresses the emerging trend favoring socially immersive artworks via mobile Augmented Reality rather than sensorially immersive Virtual Reality installations. With particular focus on AR as a mobile, locative technology, we will discuss how concepts of immersion and interactivity are evolving with this new medium. Immersion in context of mobile AR can be redefined to describe socially interactive experiences. Having distinctly different sensory, spatial and situational properties, mobile AR offers a new form for remixing elements from traditional virtual reality with physically based social experiences. This type of immersion offers a wide array of potential for mobile AR art forms. We are beginning to see examples of how artists can use mobile AR to create social immersive and interactive experiences.
Full Text Available The appropriation of the expression «revised and enlarged edition», from the traditional publishing jargon, is presented in this article as a hypotheses to characterize contemporary publishing practices. It consid- ers the publication, in all its stages, as a writing space and as a process that never resigns creativity and criticism.These practices are «revised» (revisited because they imply the problematization of practice, through an exploratory attitude or critic, leading to processes and discourses prepared for a permanent review. And «en- larged» because they expand the operations of each editorial production phase, they iden- tify alternative formats and models, they blur traditional roles (author/editor/designer/ reader and question editing as a mere me- diation for the creation, circulation, reception or reading processes. In this article, we will identify some of the principles and emerging phenomena that help us understand editorial production as an artistic or a literary genre.
Full Text Available “Intersectionality” has become a highly influential concept in gender research over the last 25 years. Debates have focused on differences and power asymmetries between women, in terms of race but also addressing class, age, sexuality, ability and nation. However, intersectional paradigms have been used to a much lesser extent in gender studies on men. This article seeks to contribute to an emerging discussion about intersectionality and masculinity by analyzing rap lyrics in Swe-dish songs. The data consists of a broad sample of rap lyrics by male artists 1991-2011, which is analyzed through poststructuralist discourse analysis and queer phenomenology. The analysis shows how classed discourses can be described in terms of orientation and flow, how racialization is articulated in terms of place, and the role of normative notions of gender and sexuality in anti-racist discourses. It is argued that this interconnectedness – class being related to race, which in turn is profoundly gendered – is neither well captured by the prevailing notion of “masculinities” in gender studies on men, nor by the “constitution” vs. “addition” dichotomy in intersectionality debates. Instead, it is suggested that degrees of in-tersectionality might be a more fruitful way of theorizing intersectionality in rela-tion to men.
This text will examine how avatars and the socially interactive, online virtual worlds in which they become embodied may lead to an understanding of identity and of self-perception, how such shifts in awareness may relate to the notion of the undividedly holistic 'self' and whether such perceptual shifts may be instrumental in bringing forth virtual states of experiential creative activity which may also have their precursors in the literary pseudonym, particularly as evidenced in Fernando Pessoa's conception of 'heteronyms.' The output of my study is a self-observational social system of my own creation, of which the agents are a coterie of avatars of both sexes, endowed with distinct physical attributes, both human and non-human; with uniquely emergent personalities which have progressed towards further idiosyncrasy over a period of three years. I, their creator am also the observer of their undertakings, their interactions, and their creative output, all of which manifest as disparate facets of my own persona and my artistic activity.
Wijk, van J.J.; Hart, G.; Sarhangi, R.
I present an overview of our work in visualization, and reflect on the role of mathematics therein. First, mathematics can be used as a tool to produce visualizations, which is illustrated with examples from information visualization, flow visualization, and cartography. Second, mathematics itself
Koenderink, Jan J.
Visual art and visual perception ‘Visual art’ has become a minor cul-de-sac orthogonal to THE ART of the museum directors and billionaire collectors. THE ART is conceptual, instead of visual. Among its cherished items are the tins of artist’s shit (Piero Manzoni, 1961, Merda d’Artista) “worth their
Full Text Available The article deals with the issue of theatricality – literariness in the artistic discourse, components that define the specificity of theatrical art and, at the same time, its synthetic essence. The relationship between the written dramatic text and the performance is manifested in the relationship between the representativeness, the theatricality of the dramaturgic text and its literary character as a writing. The concepts of theatricality as well as that of literariness as part of a dramaturgic discourse are presented from a diachronic perspective, emphasizing the relation between the writing and spectacular discourse on the level of structure and artistic form. At the same time, as forms of artistic communication and poetic, literary, theatrical, dramatic, etc. meet, “collaborate” not only in the dramaturgic discourse structure but also in the theatrical and the narrative ones, having different artistic functionalities. The elements of theatricality are realized in the dramaturgic or the epic text through a poetical specific to the creative individuality, his/her artistic vision. In a narrative discourse, theatricality can be understood as prediction, rules that shape the show from the text itself. The art of the realization of a narrative theatricality (in the relationship of digesis - mimesis in the epic text, through various artistic means and marks of theatricality, demonstrates not only the artistic thinking, the spectacular vision of the author, but also the topicality of the approach of the interference of arts in the scientific approach.
Zaidel, D W
The neural underpinning of art creation can be gleaned following brain injury in professional artists. Any alteration to their artistic productivity, creativity, skills, talent, and genre can help understand the neural underpinning of art expression. Here, two world-renown and influential artists who sustained brain injury in World War I are the focus, namely the French artist Georges Braque and the Austrian artist Oskar Kokoschka. Braque is particularly associated with Cubism, and Kokoschka with Expressionism. Before enlisting, they were already well-known and highly regarded. Both were wounded in the battlefield where they lost consciousness and treated in European hospitals. Braque's injury was in the left hemisphere while Kokoschka's was in the right hemisphere. After the injury, Braque did not paint again for nearly a whole year while Kokoschka commenced his artistic works when still undergoing hospital treatment. Their post-injury art retained the same genre as their pre-injury period, and their artistic skills, talent, creativity, and productivity remained unchanged. The quality of their post-injury artworks remained highly regarded and influential. These neurological cases suggest widely distributed and diffuse neural control by the brain in the creation of art.
Full Text Available ... Fun Stuff Cool Eye Tricks Links to More Information Optical Illusions Printables The Visual System Ever wonder how your eyes work? Watch this ... Policies and Other Important Links NEI Employee Emergency Information NEI ... | USA.gov NIH…Turning Discovery Into Health ®
Full Text Available Data produced by humans and machines is more and more heterogeneous, visual, and location based. This availability inspired in the last years a number of reactions from researchers, designers, and artists that, using different visual manipulations techniques, have attempted at repurposing this material to add meaning and design new perspectives with specific intentions. Three different approaches are described here: the design of interfaces for exploring satellite footage in novel ways, the analysis of urban esthetics through the visual manipulation of collections of user-generated contents, and the enrichment of geo-based datasets with the selection and rearrangement of web imagery.
V. M. Patel
modelling results. The paper also presents classification of tsunami risk zones based on elevation vulnerability. We expect that the results presented here will be supportive to the tsunami emergency response system and useful in planning the protection measures due to tsunami.
Flow Visualization describes the most widely used methods for visualizing flows. Flow visualization evaluates certain properties of a flow field directly accessible to visual perception. Organized into five chapters, this book first presents the methods that create a visible flow pattern that could be investigated by visual inspection, such as simple dye and density-sensitive visualization methods. It then deals with the application of electron beams and streaming birefringence. Optical methods for compressible flows, hydraulic analogy, and high-speed photography are discussed in other cha
Wedel, M.; Pieters, R.
We provide the theory of visual attention and eye-movements that serves as a basis for evaluating eye-tracking research and for discussing salient and emerging issues in visual marketing. Motivated from its rising importance in marketing practice and its potential for theoretical contribution, we
Batic, N; Gabassi, P G
The object of the present study was to verify the emergence of a 'visual dominance' effect in memory tests involving different sensory modes (sight and smell), brought about the preattentive mechanisms which select the visual sensory mode regardless of the recall task.
Chemi, Tatiana; Jensen, Julie Borup
Among scholars and practitioners interested in creative learning, many assumptions and even stereotypes are nurtured about artists’ creativity. The myth of the lone genius, for example, is neither close to artistic practices nor beneficial to education. We address the topic of artistic creativity......, looking at its relevance to educational settings. Through asking the question: how do artists create, learn and how can education learn from them, we have investigated and described professional artists’ creative and learning processes. In this article, we present findings from a qualitative research...
Lazzeri, D; Castello, M F; Grassetti, L; Dashti, T; Zhang, Y X; Persichetti, P
Although Renaissance artists were skilled in representing normal anatomy, a close look at some paintings reveals anatomical variations in the depiction of the feet of human figures. A systematic review has identified 25 paintings by five artists in which the presumptive medico-artistic diagnosis of congenital or acquired foot deformity seems to be varyingly present. The connection between these five painters and what factors have influenced artists' style in the depiction of such deformities is discussed. The possible iconography and medical-historical meaning of such variations, as well as the possibility of artistic licence and real representation that drove the painters to depict these deformities, is explored and debated.
THE MAIN QUESTIONS WE ASKED IN THIS WORK ARE THE FOLLOWING: Where are representations of shape, color, depth, and lighting mostly located? Does their formation take time to develop? How do they contribute to determining and defining a visual object, and how do they differ? How do visual artists use them to create objects and scenes? Is the way artists use them related to the way we perceive them? To answer these questions, we studied the microgenetic development of the object perception and formation. Our hypothesis is that the main object properties are extracted in sequential order and in the same order that these roles are also used by artists and children of different age to paint objects. The results supported the microgenesis of object formation according to the following sequence: contours, color, shading, and lighting.
Full Text Available The main questions we asked in this work are the following: Where are representations of shape, color, depth, and lighting mostly located? Does their formation take time to develop? How do they contribute to determining and defining a visual object, and how do they differ? How do visual artists use them to create objects and scenes? Is the way artists use them related to the way we perceive them? To answer these questions, we studied the microgenetic development of the object perception and formation. Our hypothesis is that the main object properties are extracted in sequential order and in the same order that these roles are also used by artists and children of different age to paint objects. The results supported the microgenesis of object formation according to the following sequence: contours, color, shading, and lighting.
... your visual field. How the Test is Performed Confrontation visual field exam. This is a quick and ... to achieve this important distinction for online health information and services. Learn more about A.D.A. ...
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Full Text Available Weathered, damaged, and largely forgotten, the thirteenth-century effigies of Walter and Mary Stewart lie amid the evocative ruins of Inchmahome Priory on an island in the Lake of Menteith, Stirlingshire (Scotland. This tomb has been overlooked by art historians, yet it is the earliest surviving example in the British Isles of effigies of husband and wife lying side-by-side on the same tomb, the forerunner of a trend for commemorating marriage which would not become widespread for almost another hundred years. The intimacy of Walter and Mary’s relationship is expressed through a complex exchange of gestures, unparalleled in medieval funerary sculpture: both figures stretch out an arm to embrace one another around the shoulder, while Walter reaches across with his other hand to pull the folds of Mary’s cloak over her body. The following article considers the possible connection between this remarkable instance of artistic innovation and Walter and Mary’s involvement in a long-running dispute over their possession of the earldom of Menteith. Examining the gestures of the figures, the decision to place the monument at Inchmahome, and the probable identity of Walter as patron, I argue that the effigies were intended as an enduring witness to the legitimacy of Walter and Mary’s possession of their title and lands.
The CERN Cinéclub’s October cycle explores the evolution of cinema with film-makers Adelina von Fürstenberg and Jan Peters. "In the Mirror of Maya Deren", a film by Martina Kudlácek. For the past few decades, the CERN Cinéclub has been screening films for the CERN community on Thursday evenings. New members have brought with them greater enthusiasm and new ideas for this Cinéclub tradition. The greatest of these new ideas has been the addition of “cycles”, dedicated either to directors (Luis Bunuel, Serguei Paradzanov, Emir Kusturica, Ken Loach) or to particular themes (Czech new wave, science fiction). Inspired by discussions with Jan Peters - winner of the Collide@CERN Geneva prize and CERN’s filmmaker in residence - the Cinéclub’s October film cycle has explored the evolution of cinema from a form of scientiﬁc enquiry to a true form of artistic ...
Full Text Available This article explores the forms and functions of contemporary interreligious dialogue by focusing on artists who are active in this field. They represent different art forms and different religious positions: with their roots in Judaism, Christianity and Islam they have opted for a variety of positions, ranging from traditional adherence to renunciation of a personal religious engagement, or a fascination for new forms of religiosity. The aim is to critically examine interreligious dialogue and to provide an alternative perspective on the topic, based on both theoretical and empirical analyses. The article seeks an understanding of how persons engaging in creative forms of dialogue formulate a dialogic worldview in a religiously plural and post-secular context and what motivates them to engage in dialogue. Traditional normative theories of interreligious dialogue are hence called into question. Critical attention is brought to the narrow focus on dialogue as a purely intellectual quest for making the religious other, as a coherent theological and historical entity, intelligible. A contrasting view of dialogue as a question of interpersonal ethics is introduced, inspired primarily by the philosophy of Buber. Also the works of Habermas, Gadamer, Levinas, Løgstrup, Wittgenstein and Gaita are central to the research.Ruth Illman is a senior researcher at the Donner Institute in Åbo and Docent in comparative religion, Åbo Akademi University. https://www.donnerinstitute.fi/en/ruth-illmans-research/
Full Text Available This essay examines the influence of Aby Warburg and the Warburg Institute, as mediated by Edgar Wind, on R.B. Kitaj from the late 1950s until his death in 2007. It is based on research in the National Portrait Gallery, the Warburg Institute Archive, the Wind archives in Oxford, Kitaj’s unpublished autobiography and correspondence between the author and the artist dating back to 1972. It explores Kitaj’s creative response to Warburg’s brand of cultural history which encouraged his early eschewal of the prevailing focus upon formal values in favour of ‘symbolic images’ and suggestive content. This tendency was enhanced by his increasing celebration of his Jewishness and aspirations towards the creation of ‘a Jewish art like the Egyptian figurative style’. Kitaj’s portrait of Ernst Gombrich (1986 was commissioned by the National Portrait Gallery at a time when he was becoming obsessed with his Jewish project while Gombrich was confirming his rejection of the category Jewish, in other than a religious context, altogether. Discussion of Jewishness and the arts in the twentieth century is supplemented by the identification of David Allan’s Origin of Painting (done in Italy in 1775 as the inspiration for Kitaj’s Los Angeles series of pictures in which his late, lamented wife is depicted as the Hebrew deity, Shekinah.
Dowthwaite, Jodi N.; Scerpella, Tamara A.
This review addresses bone geometry and indices of skeletal strength associated with exposure to gymnastic loading during growth. A brief background characterizes artistic gymnastics as a mechanical loading model and outlines densitometric techniques, skeletal outcomes and challenges in assessment of skeletal adaptation. The literature on bone geometric adaptation to gymnastic loading is sparse and consists of results for disparate skeletal sites, maturity phases, gender compositions and assessment methods, complicating synthesis of an overriding view. Furthermore, most studies assess only females, with little information on males and adults. Nonetheless, gymnastic loading during growth appears to yield significant enlargement of total and cortical bone geometry (+10 to 30%) and elevation of trabecular density (+20%) in the forearm, yielding elevated indices of skeletal strength (+20 to +50%). Other sites exhibit more moderate geometric and densitometric adaptations (5 to 15%). Mode of adaptation appears to be site-specific; some sites demonstrate marked periosteal and endosteal expansion, whereas other sites exhibit negligible or moderate periosteal expansion coupled with endocortical contraction. Further research is necessary to address sex-, maturity- and bone tissue-specific adaptation, as well as maintenance of benefits beyond loading cessation. PMID:19949278