Summary of your 'study carrel' ============================== This is a summary of your Distant Reader 'study carrel'. The Distant Reader harvested & cached your content into a collection/corpus. It then applied sets of natural language processing and text mining against the collection. The results of this process was reduced to a database file -- a 'study carrel'. The study carrel can then be queried, thus bringing light specific characteristics for your collection. These characteristics can help you summarize the collection as well as enumerate things you might want to investigate more closely. Eric Lease Morgan May 27, 2019 Number of items in the collection; 'How big is my corpus?' ---------------------------------------------------------- 260 Average length of all items measured in words; "More or less, how big is each item?" ------------------------------------------------------------------------------------ 16748 Average readability score of all items (0 = difficult; 100 = easy) ------------------------------------------------------------------ 67 Top 50 statistically significant keywords; "What is my collection about?" ------------------------------------------------------------------------- 37 art 34 New 31 Art 29 York 26 University 26 Press 20 que 19 Museum 18 Matisse 15 Paris 15 London 15 Journal 10 work 9 history 9 french 9 figure 9 Gallery 9 Fig 8 uma 7 painting 7 image 7 bir 7 american 7 God 6 exhibition 6 del 6 World 6 France 6 Figure 5 não 5 fig 5 african 5 Vol 5 Resim 5 PMC 5 John 5 Ibid 5 Gogh 5 Feed 4 table 4 los 4 las 4 Zeitung 4 War 4 Van 4 Sanat 4 RIHA 4 Picasso 4 Paul 4 Painting Top 50 lemmatized nouns; "What is discussed?" --------------------------------------------- 42005 i 27034 o 26403 t 25513 l 25375 r 14010 c 13836 art 13531 e 12207 p 10118 n 9850 a 9364 h 7798 d 7683 work 7017 painting 6248 s 5868 artist 5248 g 4970 v 4193 time 4082 p. 3931 form 3787 image 3588 figure 3443 world 3326 m 2963 b 2785 way 2716 exhibition 2658 history 2633 space 2609 life 2515 object 2467 w 2425 term 2396 color 2265 process 2130 year 2105 point 2105 part 2087 example 2075 design 2055 century 2049 f 1984 nature 1933 y 1924 line 1917 study 1903 book 1868 fig Top 50 proper nouns; "What are the names of persons or places?" -------------------------------------------------------------- 58171 e 33928 s 30320 t 20414 r 18846 i 17997 u 15461 o 14746 n 14558 h 13813 de 13186 d 12026 y 11191 f 10727 l 10490 c 8549 m 7300 g 6882 la 6388 que 6248 a 6010 w 5402 New 5059 b 4927 Art 3894 el 3834 p 3470 York 3111 Worringer 2991 University 2794 Press 2644 se 2608 M 2542 da 2475 S 2434 v 2400 al 2364 ve 2340 bir 2282 del 2205 Museum 2193 London 2176 A 2098 un 2037 C 2024 Matisse 2012 Paris 1816 _ 1779 los 1724 k 1668 Le Top 50 personal pronouns nouns; "To whom are things referred?" ------------------------------------------------------------- 19123 i 13202 it 8627 he 5311 we 4832 they 2344 she 2312 them 1509 you 1438 him 1388 me 1255 us 1131 itself 864 em 645 themselves 629 one 563 himself 549 her 207 herself 141 ya 132 myself 118 ourselves 52 s 51 yourself 42 oneself 28 는 25 도 22 ’s 21 mine 18 ha 16 theirs 15 na 13 다리 13 на 13 his 13 au 12 емиграција 12 ng 10 u 9 ours 8 y 8 o 8 há 8 ''s 7 je 6 http://groups.google.com/group/museum_security_network?lnk 6 f 5 전혀 5 또는 5 de- 5 cuanto Top 50 lemmatized verbs; "What do things do?" --------------------------------------------- 76636 be 16786 have 6751 do 5127 see 4473 make 4380 use 2417 take 2340 become 2263 find 2251 show 2164 include 2068 create 2036 give 2028 write 1799 draw 1722 work 1706 provide 1668 describe 1661 paint 1628 s 1619 suggest 1615 base 1597 come 1581 consider 1509 know 1484 appear 1444 represent 1404 follow 1398 seem 1379 say 1358 present 1292 accord 1265 call 1161 produce 1143 go 1129 think 1128 look 1109 note 1108 leave 1099 begin 1077 publish 1065 understand 1043 t 989 lead 982 discuss 978 argue 956 allow 942 refer 942 define 923 reveal Top 50 lemmatized adjectives and adverbs; "How are things described?" --------------------------------------------------------------------- 10585 not 5565 also 4977 more 4492 other 3633 such 3160 only 2955 first 2852 new 2582 most 2553 well 2354 modern 2315 as 2284 visual 2259 many 2163 - 2130 different 2098 so 2094 however 2066 early 2032 same 1938 even 1857 own 1704 human 1671 out 1608 abstract 1602 thus 1593 very 1582 then 1538 up 1495 rather 1474 cultural 1447 contemporary 1412 artistic 1379 important 1353 often 1330 high 1300 french 1297 large 1279 much 1242 great 1204 here 1177 still 1158 social 1158 american 1104 political 1095 african 1042 aesthetic 1041 long 1037 specific 1031 later Top 50 lemmatized superlative adjectives; "How are things described to the extreme?" ------------------------------------------------------------------------- 701 most 360 good 325 least 141 Most 131 high 121 great 106 large 102 early 42 low 39 close 37 late 36 old 35 big 30 strong 29 simple 28 small 28 near 26 bad 23 manif 20 deep 18 long 15 slight 13 pret 11 full 10 wide 10 tall 10 e 9 young 9 rich 9 pure 9 new 9 fine 9 broad 8 clear 7 postt 7 dark 7 bright 6 eld 5 weak 5 fast 5 farth 4 warm 4 topmost 4 qu’ 4 light 3 thin 3 sharp 3 serb 3 poor 3 palimps Top 50 lemmatized superlative adverbs; "How do things do to the extreme?" ------------------------------------------------------------------------ 1881 most 113 well 93 least 3 highest 2 worst 1 x 1 smells.9 1 smallest 1 serbest 1 pretest 1 postrnature’!that!has!been!mutated!and!altered!by!harmful!radioactivity?!i!first 1 oldest 1 long 1 kastner,!jeffrey,!ed.!nature.!london:!whitechapel!gallery,!and!cambridge,!ma:!the!mit 1 it!derives!from!the!latin!mutation[n]!–!from!mutare,!meaning!‘to!change’.!my!interest 1 inter 1 in!his!work!he!reacts!to!the!space!and!gives!it!a!new!identity.!while!they!evoke!the 1 his!work.!my!approach!focuses!on!an!abstract!dynamic!that!draws!the!observer!into!the 1 hard 1 greatest 1 fast 1 est 1 early 1 e3 Top 50 Internet domains; "What Webbed places are alluded to in this corpus?" ---------------------------------------------------------------------------- 701 doi.org 221 creativecommons.org 212 www.cambridge.org 196 dx.doi.org 144 www.soil-discuss.net 124 www.youtube.com 83 www.wikiart.org 57 www.jstor.org 46 www.moma.org 41 www.ncbi.nlm.nih.gov 41 en.wikipedia.org 40 www 39 www.tandfonline.com 27 www.artgallery.nsw.gov.au 25 www.sciencemag.org 24 www.tate.org.uk 24 www.nytimes.com 23 orcid.org 21 advances.sciencemag.org 20 www.mdpi.com 20 www.istanbulsanatevi.com 20 crossmark.crossref.org 19 groups.google.com 18 www.artnet.com 17 voegelinview.com 15 www.metmuseum.org 13 escholarship.org 12 www.theartstory.org 12 www.nathanaelscheffler.com 12 www.guggenheim.org 12 www.gaudesaboos.be 12 www.delafleur.com 12 www.artyfactory.com 12 muse.jhu.edu 11 www.theguardian.com 11 www.christies.com 11 sites01.lsu.edu 11 refhub.elsevier.com 11 philosophy.unm.edu 10 www.internationaleneerlandistiek.nl 9 www.parapsikoloji.net 9 www.greytogreen.org.uk 9 - 8 www.ted.com 8 www.style.com 8 www.sanatabasla.com 8 lab.softwarestudies.com 8 en.oxforddictionaries.com 8 commons.wikimedia.org 7 www.soilart.eu Top 50 URLs; "What is hyperlinked from this corpus?" ---------------------------------------------------- 222 http://doi.org/10.1017/S0940739109990269 106 http://www.cambridge.org/core/terms 106 http://www.cambridge.org/core 94 http://creativecommons.org/licenses/by-nc-nd/3.0/de/deed.en 62 http://doi.org/10.1017/S001041751700010X 61 http://doi.org/10.1017/S0940739110000445 49 http://creativecommons.org/licenses/by/3.0/ 48 http://www.soil-discuss.net/1/1/2015/soild-1-1-2015-print.pdf 48 http://www.soil-discuss.net/1/1/2015/soild-1-1-2015-discussion.html 48 http://www.soil-discuss.net 36 http://www 34 http://doi.org/10.1017/S0269888914000319 25 http://creativecommons.org/licenses/by-nc/3.0/ 21 http://creativecommons.org/licenses/by/4.0/ 16 http://dx.doi.org/10.5935/1980-6914/letras.v18n3p53-69 13 http://doi.org/10.1039/c3an00892d 12 http://www.nathanaelscheffler.com/parc-henri-matisse 12 http://www.delafleur.com/168_Elm/ 12 http://www.artyfactory.com/art_appreciation/animals_in_art/pablo_picasso.htm 12 http://advances.sciencemag.org/ 10 http://www.internationaleneerlandistiek.nl/cgi/t/text/get-pdf?c=ivn;idno=5001a01 10 http://www.gaudesaboos.be/boeken/13_herr_luna/?width=1680height=1020 10 http://dx.doi.org/10.3857/roj.2016.01760 10 http://doi.org/10.1017/S1041610209008540 9 http://www.greytogreen.org.uk/phase2.html 9 http://philosophy.unm.edu/news-events/sw-seminar/seminar/files/living%2520body.doc&sa=U&ved=0ahUKEwiaybbPlb3bAhWCW8AKHYSkBnEQFggEMAA&client=internal-uds-cse&cx=002339348054261203620:nmul0lyyfju&usg=AOvVaw3LKW1ZXFxWGlqmS1XUpYxM 9 http://creativecommons.org/licenses/by-nc/4.0/ 9 http://- 8 http://www.youtube.com/watch?v=Ttqh1iIk_pc 8 http://www.sciencemag.org/ 8 http://groups.google.com/group/museum_security_network?lnk� 8 http://doi.org/10.1017/S0940739197000222 8 http://creativecommons.org/licenses/by-nc-nd/4.0/ 7 http://www.style.com/slideshows/fashion 7 http://creat 6 http://www.youtube.com/watch?v=zV-MsQYrW0g&list=PLg3dQRY8HYBsZIpl0zETJ8bbG4pUaSYG4 6 http://www.youtube.com/watch?v=XiNfjYaDiEE&fbclid=IwAR1QjJhDXJCrkz7L 6 http://www.youtube.com/watch?time_continue=185&v=Sl1qvv5Q6Z8&feature 6 http://www.susdrain.org/casestudies/pdfs/suds_awards/006_18_03_28_susdr 6 http://www.sciencedaily.com/releases/2019/08/190812130843.htm 6 http://www.religion-online.org/article/deep-ecology-and-process-thought/ 6 http://www.parapsikoloji.net/imajinasyon-ve-parapsikoloji-calismalari/ 6 http://www.nigeldunnett.com/about/ 6 http://www.metrovancouver.org/welovewater/conservingwater/how-we-use-wa 6 http://www.landscapeperformance.org/case-study-briefs/one-drop-at-a-time 6 http://www.kimkimdir.gen.tr/kimkimdir.php?id=2987 6 http://www.chicagotribune.com/news/ct-xpm-2004-07-06-0407060102-stor 6 http://www.asla.org/2009awards/298.html 6 http://www.artgallery.nsw.gov.au/exhibitions/new-contemporary-galleries/featured-artists-and-works/anselm-kiefer 6 http://urbanchoreography.net/2019/10/10/super-bloom-new-floralfrontiers-in- Top 50 email addresses; "Who are you gonna call?" ------------------------------------------------- 4 bconway@wellesley.edu 3 siehr@mpipriv.de 3 rtrubin@yahoo.com 3 info@hbart.com.my 2 vilson@void.cc 2 t74sawa@interlink.or.jp 2 ssuko@hanmail.net 2 schaub@pharma.uzh.ch 2 sabine.lang@iwr.uni-heidelberg.de 2 rpepperell@cardiffmet.ac.uk 2 r_jafarpour_had@yahoo.com 2 pzamoper@utalca.cl 2 publications@city.ac.uk 2 permissions@acm.org 2 miller@hoover.stanford.edu 2 marta.edling@sh.se 2 luis@skku.edu 2 luciano.floridi@oii.ox.ac.uk 2 ldfcosta@gmail.com 2 jorgedavid@skku.edu 2 joaceved@gmail.com 2 jkc1199@hnu.kr 2 jdcho@skku.edu 2 j46006a@cc.nagoya-u.ac.jp 2 j.sarmento@geografia.uminho.pt 2 info@coraginsburg.com 2 info.ceum@unimc.it 2 icc@unimc.it 2 hummel@uni-muenster.de 2 helmut.leder@univie.ac.at 2 hamidrezaahmadi227@yahoo.com 2 gonzalo@ifsc.usp.br 2 gianluca.valentini@polimi.it 2 fabbri@usp.br 2 denizgokduman@trakya.edu.tr 2 davidsbrissa@hotmail.com 2 daniela.comelli@polimi.it 2 christian.feller@ird.fr 2 arturo.cifuentes@fen.uchile.cl 2 angela.munteanu@arh.utm.md 2 andrew.benjamin@monash.edu 1 yumik777@gmail.com 1 ybkim3@yuhs.ac 1 whtjdrl410@skku.edu 1 vylee52@hanyang.ac.kr 1 viplav.saini@oberlin.edu 1 victoria.horne@northumbria.ac.uk 1 victor.gonzalez@culture.gouv.fr 1 venters@knu.ac.kr 1 ventcusa@gmail.com Top 50 positive assertions; "What sentences are in the shape of noun-verb-noun?" ------------------------------------------------------------------------------- 2230 i s t 1263 e s s 1095 e s t 993 s s i 835 a s s 728 i s m 699 a s t 651 i s s 641 e s e 620 s s e 618 i s h 548 e s i 527 n s i 478 i s i 438 n s t 408 i s c 384 i s e 382 o s t 375 r s t 361 u s e 357 e s o 352 u s t 338 o s e 316 s s o 297 a s i 297 u s c 288 r s i 286 o s i 285 e s p 260 u s i 252 e s c 252 l s o 247 i s p 229 s s u 223 u s s 209 n s o 202 t s i 201 n s e 195 a s e 193 s s t 189 r s o 187 e s u 182 b s t 180 e s a 175 t s e 174 o s s 174 r s e 171 t s o 148 t s t 147 i s o Top 50 negative assertions; "What sentences are in the shape of noun-verb-no|not-noun?" --------------------------------------------------------------------------------------- 5 i s not t 5 work has not previously 4 i s not o 2 art is no longer 2 artists were not only 2 e was no n 2 i s no longer 2 i s no m 2 i s not j 2 t is not social 2 t was no l 1 a s no i 1 a s no s 1 art are no longer 1 art does not c 1 art is no exception 1 art is not commonly 1 art is not con- 1 art is not constructivist 1 art is not exact 1 art is not just 1 art is not merely 1 art is not satisfied 1 art is not unique 1 art is not vague 1 art was no longer 1 art was not entirely 1 art was not immediate 1 artist did not fully 1 artist does not merely 1 artist does not necessarily 1 artist had no desire 1 artist had not yet 1 artists are not scientific 1 artists do not necessarily 1 artists have no need 1 artists made no claim 1 artists were no longer 1 arts are not interested 1 arts was not new 1 arts were not innovative 1 d are not b 1 e are no i 1 e has not yet 1 e s no c 1 e s no s 1 e s not dwell 1 e s not first 1 e s not mean 1 e s not motivate Sizes of items; "Measures in words, how big is each item?" ---------------------------------------------------------- 167011 work_7cgto4cytrfmrccx2kqo5j523y 161020 work_65vugdayivdkdd5irruqvmspfm 149988 work_3lpbwiog5ncxjhy3arrkag3cs4 132365 work_zojz72rwnbfbpltbb3t5fpjea4 121720 work_ochqinkvardj5hdjofhutpiomm 107947 work_3y2rhoskqjhtvo2fy4zlszsmga 101495 work_s4nmvmo3vrhtjdxvhwh6srrd6e 98296 work_qydyskeisnhd3bjdwsnph3anmq 96169 work_a3at6r67jbh6nkdwjyabv6c7nm 86816 work_52zqxwdayrfclchz2qt3qdtd6m 84860 work_ly4mhuowlvgwpmmkbxcca662nq 81181 work_xmkjis5dtjcqribkw7omt3eqtu 78051 work_amysq7fbgjdxxddfnq2c57y2ju 74330 work_vta3jcg2ybgsrpqqs5y3fmvcai 71076 work_ivve27nrafcn7fxhjdtn2x35g4 61201 work_mo2mvasy5bd3pdmg6o4gqk726q 61141 work_nlh4f6mtb5dd5as7e2aloruwnq 59881 work_m3gj3nmpcbdq3nq4xlvpdwlgeu 59697 work_powd6hp7prekhfalihfvqzntau 58789 work_o6jhzbypjjdfph2ovtzjkyy2yi 53653 work_lzapa7ym3rac3gium7fbirfhcm 48150 work_mba6cdcvofaxpj263in73kem3a 44915 work_k2nyanvrtre7hff5oj35ndbnde 43923 work_wepcc2uehrdjpgy2hh77oyam54 41789 work_hbyhfwmqn5ctrkhl7avdcfwule 40881 work_li7f6zj7bfdnpkeofl3b3z7ufe 37922 work_xofl75h6r5ehndm5tdobnb3lwa 35527 work_glgzrbza2fgnxg7j7wpxpqieum 35316 work_zksgqxtqoffpjoe736e7lerjd4 33745 work_7fusxj7so5dgppgwmnq5vpfdxu 33494 work_txjzwc46dvbczgbaomie26swwq 33091 work_2by36bz7pfcadjkotl735ayfv4 31282 work_3yc54oxe5vdnpi3vbhvzbv4d44 29438 work_q4va5r55pjaxnevd44bxqudwd4 28413 work_kwy3ddpkmzgm3o5hntjpcwj3me 28194 work_zhbs72arnfbihotiyt5umcvvji 26365 work_q4az75f22fdihf7jx5zocsf3we 26002 work_awwathv6evcmneedcv2oh6p46u 23950 work_xftlvbuar5hnxa5ldohw6z2zmy 23868 work_hmeboxeqj5a7da3fd6mufvwxsu 23572 work_vwzxskvxkjh65mruup4zx7no5e 22873 work_f3apmctpofbural37srvzrqgu4 22350 work_g7qkcaeg3jbqrcgyqp7nnlpira 22312 work_tr5t72prb5bppfe2js55hbip6m 20106 work_ymrfq2x54vbrxpaj6zsy6nfrzq 19975 work_yhxp7da7bfho7jij23vg5bwfdq 19461 work_pwk4gbu4gbcg3przgdddw56xe4 17866 work_n3t7oh2ndjb2lkgbyhiw4iaaqi 17825 work_zo6j6bkr55dcfgevn7xicimila 16781 work_oxsp7e4o6zgnxejmeq6up2uag4 16754 work_vimqis7apzdmpoyzxscztfz3da 16589 work_akchoj64rzaonfacx6etoiyo2i 15987 work_2v775ec7knbofh7c4tx22akmn4 15745 work_tgviv7sv5zhvxdz5uhvfmmjcvu 15622 work_xfy6bpxbrbdxxc34453jiwulp4 15152 work_ejuchsj4qrfebb4wcmrtfklxg4 15059 work_uemeax6g7bguzeoedgmxdhiwzm 14959 work_isggktgsl5gw5fxih43evvgpei 14872 work_3z2khowgprbxzmpojqkuatkxwu 14829 work_nezhe4c6jjf55fitl5myezzkty 14236 work_l6ssnchitneonfnevyfbhqirb4 13811 work_x5tggs6f5fhwvbzukdjml34vga 13564 work_edckluok3zf7pfilznvdzbmlga 13007 work_z5bevyfolvgqrkcyu3oxp6ca4m 12959 work_g43il6loobdbdcvkz72th65r6a 12684 work_e3tcy7fk6rfzjdqwhfwqg53jjy 12600 work_nqm6w62vsvhozcvq7rnz3xps7u 12438 work_ytqea63bhvchzcayfpprrow76a 12405 work_npqenegou5ejphlebsmz7lmupm 12240 work_6gu5gx47urgpnlzz4uyj4fgunm 12024 work_67tu5iqqbbagtkzsoxc2dh3pxi 12012 work_3yrwfohlbzhbthkrakwdjyljr4 11962 work_bnbvmodb6be2ppzezbtqjqw3fi 11796 work_smc2pj4usrglboaowwpwg6hrue 11750 work_3g26vrz6cbez3eshzm4uhaixga 11732 work_w5keigit55h2baapmj7a4mgbrm 11731 work_blnkiy37nrd2dblh35dqg6dd3q 11550 work_qhpci3jelnb5bn2n3qpbrvsb7q 11549 work_fszn4zg5cnh37ftwi3s77uq7om 11430 work_fis5jqyzjrfzrn2aklakmhuyra 11354 work_n5qsfhdyrrhsbexrn7ha2sxixu 11318 work_ni7xxyjxczg7riydjuyqkfa464 11299 work_ihstidltsbaq7l3gajye4rtpna 11171 work_6zmwsbf2ofgqzj4o3nh3gp6vce 11157 work_bs6wgrgacfawlm5lzi7pa5atma 11139 work_dbllj5j3lvguri2ppeiimlqc4e 11024 work_dzxbthylsvhebmyguh6blhhiya 10967 work_k5lw5nq3rvd7bayygaf3wqwigq 10952 work_c6ettxiwdbdpvj3yiirl456fay 10944 work_mllav53zafeppdfdqksfpeuqmm 10924 work_r4snsamedncdre4fldvz5bbb6i 10864 work_zkpht3orsrel3idlabfdy4l2me 10808 work_bj3l4yocmzbuno6plcdg2jl43i 10800 work_ubsb6fmgcraf3ojnql45vi2lbu 10734 work_dh42o6tjqjgn3ngmihchmv4era 10549 work_tkdjnf3nnvcpdamuekuzu6qp6a 10498 work_7zk47jio5vavdm2bbahnhktane 10457 work_dstd5dp6craircs3clqbgtfsga 10412 work_uuyjjp3ld5cu3mw4usffpqgqzq 10359 work_vwwrgdzpj5ebvl2522z7dck6rq 10295 work_up4ci7mpprcj3jrphmcdymnbvm 10149 work_qrshdzmofvexdhyjhaptb2twt4 9987 work_vzgf2ojxujde7k7v5usjtyg5ve 9975 work_ff6mnzj25zegrct2ipe5o6jtxq 9930 work_57jnzzlxrbbbxjys3tzysqqpva 9894 work_ym2xu2agbndrles33ojwjv26fm 9866 work_neg7q52odffhjeafdnhykarjbu 9794 work_krubkes2qfhdrbwrjopvnzcnby 9747 work_yzxameipfze73ajyg6yyx6yofu 9699 work_4ygjgk5dwzgrrpfhf3exddce4a 9692 work_3cwttq2vdvh6tclkclpefeprg4 9664 work_evhxhw6tardqhcvso3buefaxcm 9662 work_ffpddqu6s5gotcryac6mxxfluu 9646 work_ca4su7c6qvhwlc65xubezqbyci 9539 work_b7cwv4jn75bozbnft4vlwqq5cy 9496 work_sjvcndejnzdu5itebi2pbytz64 9486 work_j2ad6gu5v5hblfhoou6dlgm4ka 9468 work_txquvystnvaf3bansf64pycqpa 9351 work_ak3bvlltpvbgdeam2hgigb7b3y 9220 work_h4s4fa6jbvhlfhrv4jbluxadmy 9202 work_jdm6sgbahngmjeztevuymgkami 9164 work_dklh3bduwffffmqbhznwj6sata 8978 work_ust5lwnnkrbqfmylqjzqgjo62e 8928 work_evq7jwmjufa6pjlx3wsz3wzel4 8890 work_5zb7ipywq5fwdkgezcx6izbhmy 8884 work_733qb624cfhqlm2bth2ptsxw7u 8728 work_xhnc2y7cc5fl7conrtd7bj2uei 8651 work_kd77dpwpbne7hayre7br7ssj74 8597 work_rvnl5eeftvexvm36byxjk4pll4 8450 work_fw5hn5vfkjbwfjszhpzvrlh7ry 8323 work_6ojmtoiigfb4doujn3hueyngw4 8318 work_jum53bzee5e4hg6h6rxwidrbvy 8280 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course/program learning. For example, a video assignment that records a student outlining her or highlight some key learning benefits from video assignments. formats, instructors can encourage video posts in the learning management Beyond the community building aspect, video assignments enable students Integrating video assignments into academic courses is easier than it might Community building becomes an integral part of video assignments Video assignments help enhance learning by In conclusion, there are many benefits from video assignments for learning Your assignment may be presented as a written submission or a video. Student video assignments. http://ctet.royalroads.ca/student-video-assignments management with student-produced video assignments. work_2by36bz7pfcadjkotl735ayfv4 lead to a holistic use of site by facilitating urban continuity and, an architecture for garages Parking garages are necessary buildings in urban areas. This approach uses human experience to set in motion a building/user integrate the activities of the garage with those of other buildings on the site; and four, it parkades because the parking garage is where a natural transition should take place Community and Architectural Reaction to Practical Parking Garages the garage look like a place to park a car while at the same time dignifying its banality. As the parking garage has asserted itself as a major urban building typology, an It is this high level of awareness that c o u l d allow the active participation of parking garage Fourth, including the car/driver in design w o u l d allow garages to express themselves with garages can integrate the presently exclusive process of parking with other activities, work_2djdvrgasvfabehwsh7deeuecy sys_1000 wp-p1m-38.ebi.ac.uk wp-p1m-38.ebi.ac.uk exception exception Params is empty Params is empty Params is empty if (typeof jQuery === "undefined") document.write(''[script type="text/javascript" src="/corehtml/pmc/jig/1.14.8/js/jig.min.js"][/script]''.replace(/\[/g,String.fromCharCode(60)).replace(/\]/g,String.fromCharCode(62))); // // // window.name="mainwindow"; .pmc-wm {background:transparent repeat-y top left;background-image:url(/corehtml/pmc/pmcgifs/wm-nobrand.png);background-size: auto, contain} .print-view{display:block} Page not available Reason: The web page address (URL) that you used may be incorrect. Message ID: 220031528 (wp-p1m-38.ebi.ac.uk) Time: 2021/04/06 02:46:16 If you need further help, please send an email to PMC. Include the information from the box above in your message. Otherwise, click on one of the following links to continue using PMC: Search the complete PMC archive. Browse the contents of a specific journal in PMC. Find a specific article by its citation (journal, date, volume, first page, author or article title). http://europepmc.org/abstract/MED/ work_2dmmx4xexfdvdcqd4iwlkkrknu The identity of a nation represents the culture, the traditions, the material values Keywords: thesaurus, contemporary, style, national, identity, tradition, culture, architecture, objects, simple tools, handicrafts, national costumes and ornaments from peasant houses, The design of the traditional house. The interior of a traditional house, with functional areas. Textiles occupy an important place in the decoration of the traditional house, woven significant pieces of traditional style furniture are "lavițele", the peasant bed that was Traditional style in a contemporary interior of styles using contemporary furniture and traditional ornaments on the wall, or wooden 100 Promoting national identity in stylistics of contemporary architecture and interior design 100 Promoting national identity in stylistics of contemporary architecture and interior design 100 Promoting national identity in stylistics of contemporary architecture and interior design 100 Promoting national identity in stylistics of contemporary architecture and interior design 100 Promoting national identity in stylistics of contemporary architecture and interior design work_2f7zgfv4kjb6lnbgump6jb75w4 Based on the outcomes of the analysis on figurative design elements, this study ad Key words : cubism(큐비즘), distortion of silhouette(실루엣의 왜곡), geomagnetic(지오메틱), 큐비즘 패션 디자인을 사실성, 동시성, 도형성, 해체 화면의 분할은 패션에 변화를 줄 수 있는 디자인 요 큐비즘 패션에 나타난 동시성은 시점의 각도에 본 연구는 컬렉션에 나타난 패션스타일 중 큐비즘 이때 사용된 변수 7개의 조형적 디자인 요소를 기 다음으로 현대 패션에 나타난 큐비즘스타일패션 치를 표현한 작품을 살펴보면, Figure 17의 이세이 마지막으로 현대 패션에 나타난 큐비즘스타일패션 Figure 26에서는 실루엣을 단순화 패션에 나타난 큐비즘스타일패션의 특성을 분석하는 최예리 · 최정욱 / 현대 패션에 나타난 큐비즘스타일패션 연구 최예리 · 최정욱 / 현대 패션에 나타난 큐비즘스타일패션 연구 최예리 · 최정욱 / 현대 패션에 나타난 큐비즘스타일패션 연구 최예리 · 최정욱 / 현대 패션에 나타난 큐비즘스타일패션 연구 최예리 · 최정욱 / 현대 패션에 나타난 큐비즘스타일패션 연구 최예리 · 최정욱 / 현대 패션에 나타난 큐비즘스타일패션 연구 최예리 · 최정욱 / 현대 패션에 나타난 큐비즘스타일패션 연구 work_2paxmopnvzhy7ojqbxxm3ehisy Th is is not for Dix, however, who had gone to war as a means of "experiencing" life to the Dix courageously embraced life without dilution, inclusive of all its ugliness and his fanaticism for "truth" into the various elements", then this was true of all three forms of German Expressionism. Dix''s Nietzschean infused life philosophy led him to be both a meticulous detail resonated strongly with Dix''s all-round training, irrepressible passion for life''s experiment Although the directness of Dix''s art meant that it became politicised For Dix, the cause and eff ect that was entrenched in his world applied equally to his behaviour and his expressionistic art – Like Dix, Matisse was exposed to both the traditional and revolutionary art infl uences of his time, broke out Whereas Dix''s art was energised by Despite their very diff erent life arcs, Matisse and Otto Dix: The War: 1932; Dix/Matisse work_2pem4a3rhnevbiwwngy32xk6am Welcome | EQUELLA guest EQUELLA Welcome No institutions exist on this server Administer server Thank you for using EQUELLA Home | Privacy | Credits RSSTwitter© 2015 Pearson work_2v775ec7knbofh7c4tx22akmn4 Chanda, while continuing his day job as a schoolmaster, gathered data and published anthropometric studies in a Bombay-based journal called East and West. eminent Bengali intellectual Sir Brajendranath Seal was invited to the Universal Races Congress in London. anthropometry were no longer merely instruments to further the social ambitions of upper-caste Bengalis like Chanda; but were far-reaching means to and fifty books in his lifetime, many of them about the racial history and identity of Bengalis.34 His 1942 publication remained one of his most popular men contested the designation of upper-caste Bengalis as non-Aryans and Upper-caste Aryanism may have been rampant in the Bengali biometric discourse, but it did not go unchallenged in public life. Like the exponents of upper-caste Aryanism, Dutt believed in a fundamental divide within Indian and/or Hindu-Bengali culture. The Bengali Pharaoh: Upper-Caste Aryanism, Pan-Egyptianism, and the Contested History of Biometric Nationalism in Twentieth-Century Bengal work_2xdb432qyrfbzksi7v2lzge534 Discrete Morphological Size Distributionsand Densities : Estimation | Semantic Scholar Corpus ID: 207775972Discrete Morphological Size Distributionsand Densities : Estimation title={Discrete Morphological Size Distributionsand Densities : Estimation}, | Morphological size distributions and densities are frequently used as descriptors of granularity or texture within an image. In this paper, we study the problem of estimating the (discrete) morphological size distribution… Expand Monte Carlo Estimation of Morphological Granulometric Discrete Size Distributions On Estimating Granulometric Discrete Size Distributions of Random Sets E. Dougherty, John T. Morphological image segmentation by local granulometric size distributions Mathematics, Computer Science Mathematics, Computer Science Mathematics, Computer Science Mathematics, Computer Science Mathematics, Computer Science Semantic Scholar is a free, AI-powered research tool for scientific literature, based at the Allen Institute for AI. By clicking accept or continuing to use the site, you agree to the terms outlined in our Privacy Policy, Terms of Service, and Dataset License ACCEPT & CONTINUE work_3cwttq2vdvh6tclkclpefeprg4 Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. works in Western paintings and sculpture, to recent developments in film, architecture, and contemporary art (Landa attempt a comprehensive overview, we will offer selected examples, from Renaissance paintings to contemporary installation works, to feature films, which reflect our observations itself; soils have been used as a material for art as pigments (since the prehistoric wall paintings in caves) (Ugolini, observe the soil (Feller et al., 2010), as in Venus Standing in a Landscape (see http://www.louvre.fr/oeuvre-notices/ leans towards a sharp vertical exposure of soil that includes a strange large root: http://en.wikipedia.org/wiki/ Arbor Day (1932) is well known to soil scientists around the world (see http://www.wikiart.org/en/ http://www.artgallery.nsw.gov.au/exhibitions/new-contemporary-galleries/featured-artists-and-works/anselm-kiefer http://www.artgallery.nsw.gov.au/exhibitions/new-contemporary-galleries/featured-artists-and-works/anselm-kiefer http://www.artgallery.nsw.gov.au/exhibitions/new-contemporary-galleries/featured-artists-and-works/anselm-kiefer Another example of immersive installation soil art explores Where de Maria and Fischer challenge the viewer''s experience of architecture by installing soil within the familiar framework of walls and floors work_3g26vrz6cbez3eshzm4uhaixga 2 Michel Bézard, « TICCE : le MIDI à l''heure du second C », Les dossiers de l''ingénierie éducative — Des outils pour la musique, N°43 (juin 2003):1. 1. Les outils de création au service des œuvres musicales (par exemple, MusicLab) : l''outil de création Musique Lab — conçu pour l''Éducation nationale par des professeurs en collaboration avec l''IRCAM — est une série progrès des cours à distance dans les établissements d''enseignement de la musique : c''est l''un des problèmes qui gêne l''avancement de l''e-learning musical. Ces vidéos du cours accompagnés des documents pédagogiques ont ainsi donné au professeur une très grande liberté d''innover en classe, d''avoir le d''interprètes faisant partie de l''école où se donne le cours d''histoire de la musique, d''enregistrer des œuvres musicales choisies qui illustrent les exemples Mais avec les moyens actuels, la conception d''un cours vidéo pour l''enseignement à distance serait tout à fait dynamique grâce à son complément en ligne. work_3i2x5r65rfbb5amel53owj7zxq Anahtar Kelimeler: İslam, soyut, sanat, resim, modern. Çalışmada materyal olarak ele aldığımız örnekler İslam sanatçıları tarafından ortaya konulan örneklerinden ve batı resim sanatının modern soyut anlayışta eserler üreten sanatçılarından Escher, İslam sanatları içinde müstesna bir yeri bulunan geleneksel Türk süsleme sanatlarının tarihsel gelişim süreci içerisinde tanımlamasını yaparken İslam sanat anlayışının doğası içinde var olan soyut problem olarak baktığımız olay plastik anlamda sanat dediğimiz eylemi gerçekleştiren sanatçı bir sanat ve ahlâk gibi fenomenler insanın şuuraltında bir bütün olarak yaşanmaktadır (Coşkun, 2014, İslam sanatçısı eserlerini oluştururken, yaratıcı ile bir yarış halindeymiş gibi algılanmaktan Mevleviler resim sanatı için iyi bir ilham kaynağıdır. Önceleri bir tür soyut resim olan İslam yazı sanatı hat, arabesk ve minyatür sanatlarının gelişmesini sadece "resim Devam eden bir sanat evriminin 20 yy''da ki görünüşüdür (Kınay 1993: 266.) (Resim 15). bağlamda sanata baktığımızda modern resim sanatında haklı bir şekilde yer bırakanların halı ve yüzyıl Modern Batı Resim sanatının öncülerinden Paul Klee, Doğu kültürü etkisini work_3kr63fmm5fcwzgwwtykns3m3te work_3l4i7l35qjhznnhbri44igmkau extraordinary life, not of Matisse, but of 500 francs by Matisse to make a new Matisse found out she was taking part in life, Matisse was a driven man, seething impoverished art student in Paris, but and 3 years later, Matisse asked her to Matisse impressed her as the first As Hilary Spurling makes For 4 years he painted nobody else. Years later, Delectorskaya running the whole house''.1 When Matisse Matisse was 40 years older. Spurling interviewed Delectorskaya until he died in 1954, Delectorskaya provided Matisse with the calm, support Matisse to a doctor, totally absorbed in Henri Matisse, French, 1869-1954. The relationship of Henri Matisse and the paintings Matisse had given her to the two authoritative books on Matisse''s exhibition at the Musée Matisse in Nice, Lydia Delectorskaya, Matissse''s muse and Musée Matisse, Nice. Matisse the Master: a life of Henri Matisse, Volume Two: 1909–1954. The new edition of the Oxford Handbook work_3lpbwiog5ncxjhy3arrkag3cs4 new ''open art'' i n N e w Y o r k , Paris and Stockholm between the years 1954 and international avant-garde art i n Stockholm d u r i n g the early sixties, m y first avant-garde art i n Stockholm d u r i n g the early sixties, I need to b r i n g to the 2 3 Serge Guilbaut How New York Stole the Idea of Modern Art: Abstract Expressionism, Sweden as an open space for an avant-garde art not o n l y tied to a consumer Museet and the artists i n question, Hulten''s Movement in Art was to be the Movement in Art exhibition), these artists met u p o n the other side of the work_3y2rhoskqjhtvo2fy4zlszsmga Sculpture of the Human Body, g e n e r a l p u p p e t l i k e s t i f f n e s s and l a c k o f i n v e n t i v e n e s s o f movement i n the work o f t h i s age group, e s p e c i a l l y o b v i o u s when one Very l a r g e work does not need a base as much as s m a l l e r Form, shape, mass, volume, monumentality. Form, shape, mass, volume, monumentality. A p a r t from t h e use o f form f o r t h e whole work, i t i s a l s o used work_3yc54oxe5vdnpi3vbhvzbv4d44 Relief is an art form well suited to re-examining our past from under the shadow of sculpture argue that the scattered presence of relief sculpture in contemporary art no longer designates a view of relief is informed by its historical use and discussed with reference to recent works works that represent relief''s highlights up to the 19th century, at which time its role in art Donald Judd designated her work specific objects : "a threedimensional form that was neither painting nor sculpture".43 This statement demonstrates the The coupling of sculptural object and image in one work forms a relief space that operates in a as an art form, he exhibited relief works throughout the 1980''s. Fig.19 left: Hildebrand Dionysus Relief 1900 from The Problem of Form in Painting and Sculpture. Fig.19 left: Hildebrand Dionysus Relief 1900 from The Problem of Form in Painting and Sculpture. http://www.artspace.com/magazine/news_events/art-fairs/10-of-the-best-artworks-at-frieze-londonhttp://www.artspace.com/magazine/news_events/art-fairs/10-of-the-best-artworks-at-frieze-london- work_3yrwfohlbzhbthkrakwdjyljr4 bulan serbest seks ve şiddet, yani pornografi, yeni bir akım olarak "fashion porn" Feminist pencereden daha geniş bir bağlamda; bugün kadınlar, tarihsel "En azından Rönesans''tan bu yana kadın sanatçı ile toplum arasında bir Hatta bir kadın sanatçı eğer tanınmış ise; bunun yine bir erkeğin desteği ile kardeşler gibi bir çok kadın sanatçının oldukça zengin ailelerden geldikleri Sanat tarihi literatüründe Marry Cassatt, Berthe ve Edma Morisot kardeşler gibi bir çok kadın Artemisia daha sonra yine bir ressam olan almış ve böylelikle sanat tarihine de, kadın tarihine de çok tartışılacak bir imza atmıştır. dönemi idi ve yeni zengin pek çok burjuva bir moda olarak Rembrandt''ın yapılan pek çok araştırmanın ortaya koyduğu üzere objektif olarak bir kılması nedeniyle, kadın tarafından geliştirilen bir cinsel strateji olarak kılması nedeniyle, kadın tarafından geliştirilen bir cinsel strateji olarak açıklamaktadırlar şekilde %39 ile kadınlar, erkeklerden daha fazla bir oranla (%26) erkek Ataerkil bir sistem olarak tanımlanan kapitalizmin, postmodern feminizm ile work_3z2khowgprbxzmpojqkuatkxwu main in¯uence in my work has been the Second World War, that is, strategy, work is a critical analysis of modernity, but through a perception of technology which is largely, I might say, catastrophic. Well, let me put it this way: to be concerned with speed, like even of a geostrategic nature in the case of the military, and total deterritorialization, what remains in order to interpret our world? Catholic moral tradition that might include other Christian and existentialist critics of technology like Gabriel Marcel or Jacques Ellul? ®rst and foremost I''d like to position myself as an art critic of technology. Totalitarianism covered my life, through the Second World War and through PV: Let me put it this way: every time a technology is invented, take your writings about pure war, military space, speed and power. I have lived through this during the Second World War. Totalitarian societies colonize their own people. work_44szwsuwjnerpjevfcvysj4hqq Essa prática, por sua vez, determina em grande parte o uso dos elementos visuais na composição das imagens publicitárias. As maneiras como se apropriam de referências das artes visuais para a criação de seus anúncios é objeto de estudo de diversos autores. É visível que o anúncio publicitário é praticamente uma imitação da obra original, "trata-se da apropriação de um know-how para a criação visual" (SANTAELLA, 2005, p. A empresa Siemens, para divulgar seu novo modelo de celular (Figura 7), ainda que não faça uso de nenhuma referência visual a obras artísticas, remete, por meio do título, ao polêmico quadro de René Magritte das imagens proposta por Santaella (2005), sete subcategorias que mostram diferentes tipos de relações entre a publicidade e a arte. Para compreendermos esse tipo de apropriação, tomamos como exemplo o anúncio criado em 2008, por uma agência da República Tcheca, work_4djqugl6ojga7ajykijkegfwca The Paris Court of Appeals found that certain art objects of the royal 3 July 1996 of 1970 on the return of illegally exported cultural objects and ordered the return of the statue: The Art Newspaper, January 1997, agreed to return cultural objects displaced during or after World War e. five times more than expected: Frankfurter Allgemeine Zeitung, 1 November 1996, p. The Institute of Art and Law (Leicester) held a conference in London site as World Cultural Heritage by UNESCO: Neue Zurcher Zeitung, will get a new building in some years: Frankfurter Allgemeine Zeitung, 18 November 1996, p. Germany under the title "Masterpieces of Western European Drawings from Private German Collections": Frankfurter Allgemeine Zeitung, 3 December 1996, p. Conference on "International Protection of Cultural Property New several court proceedings (supra 3 July 1996): // giornale dell''arte, German cultural objects must be solved in 1997: Frankfurter Allgemeine Zeitung 6 January 1997, p. work_4namjhchrvfz7gy4j24hiwgdzq Moffitt, L 2017, ''Sand, Silt, Salt, Water: Entropy as a Lens for Design in Post-industrial Landscapes'', Sand, Silt, Salt, Water: Entropy as a Lens for Design in Post-industrial Landscapes paper suggests that viewing post-industrial sites through the lens of entropy raises KEY WORDS: Entropy, post-industrial landscapes, models, design research Gandy uses entropy as a metaphor for the exclusionary nature of the design and for a is use of the term entropy to describe processes within a particular context: postindustrial landscapes that are untended, scarred, derelict, or degraded. In ''Entropy by design: Gilles Clément, Parc Henri Matisse and the Limits to Avantgarde Urbanism'', cultural geographer Matthew Gandy explores the social, political Entropy and Design in Post-industrial Landscapes Entropy and Design in Post-industrial Landscapes Entropy and Design in Post-industrial Landscapes Entropy and Design in Post-industrial Landscapes Entropy and Design in Post-industrial Landscapes Entropy and Design in Post-industrial Landscapes Entropy and Design in Post-industrial Landscapes work_4xbni7w5cjdppgb4ahdjj25klm SSaalloonn: a gathering of stimulating people under the roof of an inspiring hostess, partly to amuse one another and elcome to CMAJ Salon, an exchange of lateral thinking about health that aspires to feed the culture of curiosity stimulating lively intellectual conversation in 17th-century France. Now, CMAJ''s Salon introduces health as the overarching topic of CMAJ''s Salon will be an exploration other health-related experts will frequently grace these pages, but Salon will part of the world of health and medicine, ideas into health and medicine. and stimulate thought and discussion. Our hope is that the conversational narratives in CMAJ Salon will become fodder for engaging stories that one offers page, the heart of the salon experience — the interchange of ideas — will begin in earnest at cmaj.ca, where readers evening salons in Paris beginning in e-participants, CMAJ Salon is your Salon CMAJ''s Salon: lateral thinking about health work_4y22w26canduze3pe27yy5oh7i Although Structure-Interaction Theory newly articulated here, it is anchored in both classic ways of describing communication, such as rhetoric and dialectic (interpersonal, group, public communication), and suggests how SIT may help identify strategies to enhance human development. Structure-Interaction Theory is based on an assumption that a human communication message which to develop message strategies to adapt to audience preferences for structure and interaction based on culture Key words: Structure-interaction theory (SIT), communication messages, сcommunication context, The purpose of this paper is to describe Structure-Interaction Theory (SIT), a cogent theoretical framework useful for both explaining communication messages as well SIT suggests that all communication messages can be placed on a continuum of structure-interaction. of describing the structuring-interactive nature of communication messages. В статье описывается Теория структурного взаимодействия (ТСВ), в рамках которой рассматриваются коммуникативные сообщения и предлагаются способы улучшения коммуникации, основанные на выборе наиболее предпочтительной для реципиента структуры сообщения или способа work_4ygjgk5dwzgrrpfhf3exddce4a More than any of Gerald Vizenor''s previous work, Blue Ravens deploys a transnational aesthetic The novel showcases a Native relationship to space transformed by Indigenous art into In order to situate the critical contribution of Blue Ravens within transnational Indigenous the brothers create art pieces based on Anishinaabe aesthetics in various spaces. space as the Beaulieus develop their artistic vision of White Earth through their presence in the reading of Blue Ravens as a narrative that creates a space for Indigenous art in Europe and form of political subversion that inscribes a sense of Native presence onto transnational locales Native sovereignty far beyond the reservation through a literary aesthetics that showcases art as a reservation, Basile and Aloysius do not refer to themselves as Native American. Blue Ravens turns towards France to situate the White-Earth-based Beaulieu brothers as artists at transmotion enable Indigeneity to write itself upon transnational spaces and establish new work_4zyfi3uojzfdjcdtaeixyfam6a This article will focus on Samuel Beckett''s most famous work of art criticism, 6 Samuel Beckett and Georges Duthuit, ''Three Dialogues: Tal Coat – Masson – Van Velde'', Transition 2010, Swift Theatre, TCD (Writing Irish Art History/TRIARC); Three Dialogues: A Textual Event, 5-6 ''Dialogues'' was then in its nascent stages at the Beckett Centre, a reading of the texts Johnson Performative Criticism: Samuel Beckett and Georges Duthuit Johnson Performative Criticism: Samuel Beckett and Georges Duthuit Johnson Performative Criticism: Samuel Beckett and Georges Duthuit Johnson Performative Criticism: Samuel Beckett and Georges Duthuit Johnson Performative Criticism: Samuel Beckett and Georges Duthuit Johnson Performative Criticism: Samuel Beckett and Georges Duthuit Johnson Performative Criticism: Samuel Beckett and Georges Duthuit Johnson Performative Criticism: Samuel Beckett and Georges Duthuit Johnson Performative Criticism: Samuel Beckett and Georges Duthuit Johnson Performative Criticism: Samuel Beckett and Georges Duthuit Johnson Performative Criticism: Samuel Beckett and Georges Duthuit work_52zqxwdayrfclchz2qt3qdtd6m Something in the gnostic understanding – or misunderstanding – of the ideas of immanence and transcendence appears to condition the modern engagement with the world, itself greatly determined by a dualistic concept of nature. Jonas and Voegelin point indeed toward the idea of an ontological tension, an open inbetweenness characterizing worldly becoming, whereby I reconceptualize Gnosticism Theis'' claim, arguing that Jonas'' early works on Gnosticism condition the later development of his thought, characterized by an ontology of the world inscribing the ethical first to an original exploration, from the existential-gnostic perspective, of what modern cosmology refers to as the "subjective", then to a study of the world, of "natural" Therein, I argue, lies an essential teaching of Voegelin''s concept of Gnosticism, as well as the culminating point of his contribution to the philosophy of Modernity: the identification of a movement of reduction, closure, or sealing of an ontological tension between immanence and transcendence constitutive of worldly being. work_55urj4x2snfplbno6zxhnlcyzq 마리 알랭 쿠튀리에가 주창한 성미술(L''Art Sacré) 운동의 Couturie)가 주창한 성미술(L''Art Sacre) 운동의 추진과정과 건축 특성을 고찰하는데 목 이 있다. 일으켰던 성미술 운동의 개과정과 쿠튀리에 신부가 펼친 건축개념의 분석을 통해 교회건축의 공간이미지 구성과 디 Keywords : Chapel, L''Art Sacré (Sacred Art), Marie Alain Couturie, Le Corbusie, New version, religious space 쿠튀리에는 가미 신부와 함께 성미술 운동의 첫 건 성미술 운동의 기 지 ''라르 사크 ''(L''Art Sacré)에 마리 알랭 쿠튀리에가 주창한 성미술(L''Art Sacré) 운동의 건축적 의미와 특성 고찰 마리 알랭 쿠튀리에가 주창한 성미술(L''Art Sacré) 운동의 건축적 의미와 특성 고찰 마리 알랭 쿠튀리에가 주창한 성미술(L''Art Sacré) 운동의 건축적 의미와 특성 고찰 마리 알랭 쿠튀리에가 주창한 성미술(L''Art Sacré) 운동의 건축적 의미와 특성 고찰 마리 알랭 쿠튀리에가 주창한 성미술(L''Art Sacré) 운동의 건축적 의미와 특성 고찰 마리 알랭 쿠튀리에가 주창한 성미술(L''Art Sacré) 운동의 건축적 의미와 특성 고찰 마리 알랭 쿠튀리에가 주창한 성미술(L''Art Sacré) 운동의 건축적 의미와 특성 고찰 work_57jnzzlxrbbbxjys3tzysqqpva Ofrecer una presentación sobre la comprensión de la relación entre historia y Tradición –y tradiciones– en Yves-Marie Congar es entrar en un Los actores implicados: se trata de todos aquellos que, tras la revelación de Dios acontecida de una vez en Jesús, han recibido y entregado Para comprender mejor el alcance del contenido de la Tradición, Congar distingue entre el aspecto más objetivo de la misma, entendido como Puesto que la Tradición es la comunicación vital de relación religiosa –fi lial y fraternal– de Dios en Jesús por su Espíritu, ella se visible del Verbo Encarnado, apunta precisamente a ser conocida y ofrecida como una forma válida para todos los tiempos, que debe por tanto Una vez más, la realidad misma del Dios cuyo ser lo conocemos por la relación que establece con la humanidad y por lo que continúa work_5dtsgouud5dstbzabs5e3vmc7m Egocentric Perspective: Depicting the Body from Its Own Point of View Egocentric Perspective: Depicting the Body from Its Own Point of View Ernst Mach''s illustration of the ego''s point of view, as included in his book The Analysis of Mach was trying to depict the continuity between his "visual ego," his body and the Depictions of the Egocentric Perspective in Art and Visual Media Where depictions of the egocentric perspective do occur in art and in visual media visual field, which is where of the self-viewed body is mostly visible. The egocentric perspective is usually depicted in visual media by locating a camera that truncates the peripheral field where much of the self-viewed body is seen. is to fixate on a point in visual space and plot the position of all visible objects and is typical of the depictions of the self-view found in visual media. perspective to depict visual space?" Perception, 43 (5) (2014) pp. work_5opccyjtarb2hhtxlyd4cuccly In this paper I look at autographical depictions of the body in the work of Mato Ioannidou, a Greek woman artist, who participated in a overview of Ioannidou''s artwork, making connections with significant events in her life; then I discuss feminist theorizations of The extract above comes from a life-history interview with the Greek artist Mato Ioannidou in her studio in Ioannidou''s artwork, then I discuss feminist theorizations of embodiment in philosophy and visual Ioannidou''s portrayal of women''s bodies in three cycles of her work: Erotics, Women, and Ai-Giorgis (Saint have tried to understand artistic depictions of the female body in Ioannidou''s paintings. to the body in three cycles of her work, The Erotics, Women, and Ai-Giorgis (Saint George). In painting lines, planes, and bodies, Ioannidou''s artistic practices dismantle the faces of motifs in this autographical series of female body paintings that I want to discuss in the light of Spinoza''s work_5ouska6aqjhjrjynq5zfw5jr6q group''s producer Serge Diaghilev, designer Leon Bakst, choreographer forms of the pieces produced by the Ballets Russes transcended the a single day in modern Dublin Diaghilev and the Ballets Russes Pritchard, ed., Diaghilev and the Golden Age of the Ballets Russes 1909-1929 Museum in London, "Diaghilev and the Golden Age of the Ballets 17) Howard Goodall, "Music and the Ballets Russes," in Jane Pritchard, ed., Diaghilev and the Golden Age of the Ballets Russes 1909-1929 Diaghilev and the Golden Age of the Ballets Russes 1909-1929 "Music and the Ballets Russes." In Diaghilev and the Golden Age of the Ballets Russes 1909-1929, edited by Jane Pritchard, Jane ed., Diaghilev and the Golden Age of the Ballets Russes Studlar, Gaylyn, "Douglas Fairbanks: Thief of the Ballets Russes." In Bodies Nijinsky; and of the work produced in collaboration with the Ballets Russes Orientalism, Ballets Russes, Diaghilev, Leon Bakst, Vaslav Nijinsky, Ida work_5zb7ipywq5fwdkgezcx6izbhmy Postmodern Flemish picture books as semiotic Because of their prominent use of artistic illustrations, contemporary Flemish picture books have often been referred to as a feature that is unique for contemporary Flemish picture books. characteristics that contemporary Flemish picture books share with what internationally has come to be described as text and reader) will consequently be identified and analysed in works by several Flemish picture book artists. these postmodern features, picture books are furthermore described as ''''semiotic playgrounds'''' where readers can become Keywords: Picture books; postmodernism; visual intertextuality; interaction; play; Carll Cneut; Tom Schamp; picture books by artists such as Isabelle Vandenabeele, Gerda Dendooven, Pieter Gaudesaboos working cleared the way for a whole new generation of Flemish picture book artists that defined explicit way, this picture book refers to the wellknown 16th century painting with the same name detailed discussions of artistic allusions in contemporary picture books presented in Beckett work_65vugdayivdkdd5irruqvmspfm representational and abstract tendencies in art-making appeared to drive Worringer''s inquiry Culture and Modernism: The Making of Wilhelm Worringer''s Abstraction and Empathy'', New German Critique, Worringer''s attention to early twentiethcentury artistic explorations surfaces briefly in Abstraction and Empathy and Form in Gothic, Worringer addresses the art of the past in Abstraction and Empathy and Form in Gothic, yet Also, from the current thesis, ''Representation and abstraction in art-making: Worringer''s perspective,'' 86Empathy'', and ''Representation and abstraction in art-making: Worringer''s perspective''. Representational and abstract aspects of art as approached by Worringer are emphasized in endorsed by Worringer in Abstraction and Empathy) and the Theory of Art (visible in Form Abstraction and Empathy Worringer discusses aesthetics and art-making without asserting In Abstraction and Empathy, Worringer claims that, with regard to works of art, only positive 43 Worringer later explains that both empathy and abstraction inform a mode of art-making such as Gothic. work_67tu5iqqbbagtkzsoxc2dh3pxi Anne Dymond, Valiant, Independent, and Harmonious: Paul Signac and Neo-Impressionism after 1900, RIHA Journal 0046 Signac''s role as de facto head of the neo-impressionists and guiding spirit of the Salon Salon in 1901 positioned Signac as one of the most significant avant-garde artists in the significance of both Signac and neo-impressionism in the early 20th century. of the official Salon of the Société des artistes français.10 The neo-impressionist Albert 11 Robyn Roslak, Neo-Impressionism and Anarchism in Fin-de-Siècle France: Painting, Politics and neo-impressionists and the Independents, included a slightly longer review in which Independents in previous years for the Salon de la Société nationale des beaux-arts. was very close to that of Signac, who had been long working toward a decorative art that artists were attracted to neo-impressionism and an art of color in the 20th century. [36] Despite some negative criticism, in 1904, Signac and the neo-impressionists were work_6glii24ggfhvxhtuezunxlsica Institute o f Materials Science and Departments o f Chemistry and Physics, University of Connecticut, hexagonal symmetry of the snow crystals but lays the foundation o f the principle o f densest According to the regular solids model, taking the six planets, known to Kepler, in order, As we compare the symmetries of molecules and crystals, a striking difference is that there is the finite number (32) of symmetry classes for crystal habit with no such limits for molecules. structural consequences o f densest packing in molecular crystals, the following explanation is spatial requirements o f the molecules in building the molecular crystal rather than the peculiarities symmetry as it has at least one unique point in the whole structure. the molecules and crystals are merely examples, there is a hierarchy o f symmetries. The human face is an obvious example o f bilateral symmetry. work_6gu5gx47urgpnlzz4uyj4fgunm Peripheral Circulations, Transient Centralities: The International Geography of the Avant-Gardes in the Interwar Period (1918–1940). Peripheral Circulations, Transient Centralities: The International Geography of the Avant-Gardes in the Interwar Period (1918–1940). Interwar period, in which Paris is often considered the international avant-garde capital It focuses on the circulation of avant-garde artists and their works, Paris; Transnational Art History; Modernism; Canon; Surrealism; Centers and Peripheries; the surrealist movement in 1939-1940, modernity left Paris and Europe with New York avant-garde artists and their works, as well as the social, economical, financial, geopolitical The avant-garde artists who had left Paris in 1914 returned In Paris, despite the International Exhibition of decorative arts held in 1925, innovative In the international avant-garde, then, the production of surrealist figurative paintings Museum of Modern Art in New York in 1936, surrealism became part of History. transnational and social reassessment of modern art history – Les Avant-gardes artistiques. work_6ojmtoiigfb4doujn3hueyngw4 To cite this article: Penelope Haralambidou (2009) Drawing the female nude, The Journal of to represent the female body devoid of the perspectival distortions that the single fixed viewing point mode''.2 Although most of Uglow''s other nude paintings could be seen to fit comfortably within a voyeuristic viewing tradition, Nude, from Twelve Regular where bodies are framed, Loos draws this imaginary The house that Loos designed for Baker, when he architectural drawing the human body is absent. By reading Loos''s drawings for the Baker House investigation is the Nude, from Twelve Regular Positions from the Eye. Making this painting involved observing eye in a similar way to that in which architectural drawing conventions sever the body of the Loos''s for a building — frame the female nude with analysed Nude, From Twelve Regular Vertical Positions from the Eye and the Baker House as drawings, have seen how in Uglow''s paintings, the nude''s work_6paqa7gsprf3xmsbi7cjmdeh6q the Print Department of the Tokyo University of the Arts, Mr. Seiichiro Miida1. The publishing of those sketches, drawings, and other artistic When I create, I try not to look back, I just draw what if you could use the rhythm of passing clouds to draw 2 Little Story – a series of graphical works, paintings and drawings, Before Little Story, I created abstract art for many years. abstract art, we will need to also develop new creative grammar. I found your ocean drawings very interesting when I saw them If I started drawing from imagination, imagining images, I it with you helped me draw it a little (ref. sometimes I know that if I continue working on this drawing, I When I started painting and drawing use in drawing or painting. example, I start to imagine Japanese paintings and drawings, Looking at Tokyo Creative Imaging using Drawing Streams work_6uxydnor4necxamvzyscb7ivtq Purpose: The purpose of this study was to evaluate the efficacy of art therapy to control fatigue in cancer patients during course Materials and Methods: Fifty cancer patients receiving radiotherapy received weekly art therapy sessions using famous Results: Of the 50 patients, 34 (68%) participated in 4 sessions of art therapy. Conclusion: Fatigue and QoL in cancer patients with art therapy do not deteriorate during a period of radiotherapy. single-arm small number of participants and pilot design, this study provides a strong initial demonstration that art therapy of Keywords: Cancer, Radiotherapy, Art therapy, Fatigue, Quality of life, Oncology fatigue levels during radiotherapy in cancer patients of fatigue in cancer patients receiving radiotherapy. art therapy to control fatigue in cancer patients during course This was a study assessing the impact of art therapy on fatigue In conclusion, fatigue and QoL in cancer patients with art work_6zmwsbf2ofgqzj4o3nh3gp6vce The sources of information on the Web relating to Fine Art and in particular to Fine Artists are A Museum API (Application Programming Interface), however, is a tool that can facilitate a similar information service for the domain of Fine Art, by allowing the retrieval and aggregation of Web-based Fine Art Information, whilst at the same time increasing holistic analysis of the application of large-scale Web-based systems to Fine Art. Section 3 discusses the method by which a solution can be provided, examining the issues limiting a information via a review of a number of different Web applications that have been created using open data aggregation of Fine Art Information and therefore the need for the provision of more Museum APIs. Finally, Section 7 adduces the findings for our research to validate our data-centric hypothesis for the not artist centric, this site''s data is more event related but it does provide a number of Web feeds that allow work_733qb624cfhqlm2bth2ptsxw7u in AR with traditional procedures, like ''trompe-l''œil'' and the so-called ''velo'', to distinguish between what remains classic Keywords Augmented Reality · (Digital) layering · Stack · Superimposition · Transparency · Trompe-l''œil · Velo (veil) our way of seeing by registering digital images and objects In ''trompe-l''œil'' and AR, the three levels of image perception collapse: the environment seems to If the ''velo'' is understood as a material layer, then new possibilities show up: first, one may use the layer, that makes ''trompe-l''œils'' as objects so believable Ultimately, this layer is superimposed with information, pictures and objects relating to what the layers of these stack could be bundled between the operation of translation and the function of structuring. glass as a carrier of information and as a transparent layer Crossroads of seeing: about layers in painting and superimposition in Augmented Reality Crossroads of seeing: about layers in painting and superimposition in Augmented Reality work_7bqu632qefcerlphp5qdy2oefq sys_1000 wp-p1m-38.ebi.ac.uk wp-p1m-38.ebi.ac.uk exception exception Params is empty Params is empty Params is empty if (typeof jQuery === "undefined") document.write(''[script type="text/javascript" src="/corehtml/pmc/jig/1.14.8/js/jig.min.js"][/script]''.replace(/\[/g,String.fromCharCode(60)).replace(/\]/g,String.fromCharCode(62))); // // // window.name="mainwindow"; .pmc-wm {background:transparent repeat-y top left;background-image:url(/corehtml/pmc/pmcgifs/wm-nobrand.png);background-size: auto, contain} .print-view{display:block} Page not available Reason: The web page address (URL) that you used may be incorrect. Message ID: 220039150 (wp-p1m-38.ebi.ac.uk) Time: 2021/04/06 02:46:25 If you need further help, please send an email to PMC. Include the information from the box above in your message. Otherwise, click on one of the following links to continue using PMC: Search the complete PMC archive. Browse the contents of a specific journal in PMC. Find a specific article by its citation (journal, date, volume, first page, author or article title). http://europepmc.org/abstract/MED/ work_7cgto4cytrfmrccx2kqo5j523y f o r a new g e n e r a t i o n o f 1 e a d e r s h i p n e w men t o c o p e s i n c e he was a m a j o r p r o m o t e r o f Pop A r t a n d New R e a l i s m . P o l i c y i n t h e C o l d War. New Y o r k : H i l l a n d Wang, 1 9 6 5 ; r e p r i n t e d . New Y o r k : J e w i s h Museum. New Y o r k : J e w i s h Museum. work_7fusxj7so5dgppgwmnq5vpfdxu (Q), health and safety (HS), environmental management (E), energy efficiency (E2), and other risk � For Component Q, associated with the strategic and quality risks, the best practices of ISO 9001: include the promotion of culture for energy management and the application of operational control include the promotion of culture for energy management and the application of operational control risk management, energy efficiency, business continuity plans, and response to potential and real management with its business continuity and contingency plans for crisis scenarios include: Protecting o Contingency: Cycle of decisions related to business continuity plan, biosecurity management, o Contingency: Cycle of decisions related to business continuity plan, biosecurity management, QHSE3+ Quality, Safety and Health in the workplace, Environmental management, Energy Efficiency, and other risk components risk management (ISO 31000 Family 31k), and standards on business continuity plans. Comprehensive Biosecurity and Biosafety Management: Risks, Strategy, and Business Continuity Comprehensive Biosecurity and Biosafety Management: Risks, Strategy, and Business Continuity work_7ig6crhfqzcmvnshltthmkkhxy Second, by upgrading the technique of Matisse'' paper cut-out in a modern way such as Matisse'' paper cut-our has forms, colors and Key Words : art illustration, Matisse, paper cut-out, motives, image Matisse'' paper cut-out to fashion illustration in the work of Henri Matisse to fashion illustration, the work of Henri Matisse to fashion illustration, Kang Heemyung / A study of Fashion art Illustration employing Matisse Painting Kang Heemyung / A study of Fashion art Illustration employing Matisse Painting Kang Heemyung / A study of Fashion art Illustration employing Matisse Painting Kang Heemyung / A study of Fashion art Illustration employing Matisse Painting Kang Heemyung / A study of Fashion art Illustration employing Matisse Painting Kang Heemyung / A study of Fashion art Illustration employing Matisse Painting Kang Heemyung / A study of Fashion art Illustration employing Matisse Painting Kang Heemyung / A study of Fashion art Illustration employing Matisse Painting work_7o5vcdq4frblpbcmzvgvtuh5nq varlığı analiz edilerek, çalışma; resim ve heykele konu olan ikiciliğin, insan yaşamının bir Yüzyıl Resim Ve Heykellerinin Yunan Mitolojisi Ve İkicilik Kavramı Açısından Değerlendirilmesine Yönelik Bir Araştırma. Yüzyıl Resim Ve Heykellerinin Yunan Mitolojisi Ve İkicilik Kavramı Açısından Değerlendirilmesine Yönelik Bir Araştırma. Yüzyıl Resim Ve Heykellerinin Yunan Mitolojisi Ve İkicilik Kavramı Açısından Değerlendirilmesine Yönelik Bir Araştırma. Yüzyıl Resim Ve Heykellerinin Yunan Mitolojisi Ve İkicilik Kavramı Açısından Değerlendirilmesine Yönelik Bir Araştırma. Yüzyıl Resim Ve Heykellerinin Yunan Mitolojisi Ve İkicilik Kavramı Açısından Değerlendirilmesine Yönelik Bir Araştırma. Yüzyıl Resim Ve Heykellerinin Yunan Mitolojisi Ve İkicilik Kavramı Açısından Değerlendirilmesine Yönelik Bir Araştırma. Yüzyıl Resim Ve Heykellerinin Yunan Mitolojisi Ve İkicilik Kavramı Açısından Değerlendirilmesine Yönelik Bir Araştırma. Yüzyıl Resim Ve Heykellerinin Yunan Mitolojisi Ve İkicilik Kavramı Açısından Değerlendirilmesine Yönelik Bir Araştırma. Yüzyıl Resim Ve Heykellerinin Yunan Mitolojisi Ve İkicilik Kavramı Açısından Değerlendirilmesine Yönelik Bir Araştırma. Yüzyıl Resim Ve Heykellerinin Yunan Mitolojisi Ve İkicilik Kavramı Açısından Değerlendirilmesine Yönelik Bir Araştırma. work_7qslytfy7nad3nx2aruejnbcpm A customer experience looks beyond the specific cultural performance to design an interrelated The SAS describes the activities involved in designing a customer experience and analyzes the In this article we consider culture as a service that needs to be designed from the point of view of In this article we consider culture as a service that needs to be designed from the point of view of to jointly design and produce cultural services for an integrated customer experience. there is little attempt to design a service around the customer experience. 7 Cocreation refers to the joint creation of value by the company and the customer, allowing the customer to coconstruct the service experience to suit his context through joint problem definition and problem solving. The SAS comprises seven activities (see Figure 3), in three groups: service design, operational cultural service is a co-production22 among a group of institutions and the customer, resulting work_7zk47jio5vavdm2bbahnhktane To cite this article: João Sarmento (2017) Tourists'' walking rhythms: ''doing'' the Tunis Medina, Tourists'' walking rhythms: ''doing'' the Tunis Medina, Tunisia Tourists'' walking rhythms: ''doing'' the Tunis Medina, Tunisia To grasp the walking rhythms of tourists visiting the medina of Tunis, Tunisia, this paper This combination of methods allows me to arrive at a more concrete rhythmanalysis of the medina of Tunis, offering a new perspective on tourists'' modes of walking tourists'' rhythms it is important to contextualize the medina of Tunis in the urban arab world. a distinct epistemological avenue, as it focuses on tourist rhythms in the medina of Tunis, same time, the method enabled me to observe, from close range, tourists'' detailed interactions with other people, with places, and with events, including particular and fleeting decision-making processes. in the medina would have value, it is important to explore in detail how tourist bodies circulate, and how they are part of the ensemble of rhythms in the city. work_a3at6r67jbh6nkdwjyabv6c7nm discussing the work of African American artists Wiley and Cave, and Ghanaian New York Times, June 14, 2012, http://www.nytimes.com/2012/06/15/arts/design/caribbean-crossroads-of-the-worldspans-3-museums.html?pagewanted=all&_r=0. focus on ways that African artists represent Africa in the international art world, 48 "Global Africa: Kehinde Wiley at the Smithsonian National Museum of African Art," YouTube video, uploaded April 28, 61 "Global Africa: Kehinde Wiley at the Smithsonian National Museum of African Art," YouTube video. 79 Global Africa: Kehinde Wiley at the Smithsonian National Museum of African Art, uploaded April 28, 2011, pattern through visual art, music, and dance in the work of Nick Cave. exhibition Gravity and Grace: Monumental Works by El Anatsui, Brooklyn Museum of Art, New York, February 10, 2013). exhibition Gravity and Grace: Monumental Works by El Anatsui, Brooklyn Museum of Art, New York, February 10, 2013). Wiley, Cave, and Anatsui work with pattern and texture to present a work_ace7uyi4izcplibjw53sf5xquu The artist Henri Matisse captured the essence of a problem we This edition of CCR Focus presents instead an alternative view of discovery and progress, one in which a steady expansion of our understanding of the biology of breast cancer we have come to see breast cancer not as one disease but A breast cancer diagnosis of luminal A or B, HER2, Tabchy and colleagues note that the PIK3CA mutation is most common in ERþ/luminal tumors, highlighting a how we might engage the immune system in breast cancer nervous system recurrence in breast cancer. breast cancer treatment. cancer represent a work in progress. Deputy Editor, CCR Focus On Masterpieces and Breast Cancer Research On Masterpieces and Breast Cancer Research To request permission to re-use all or part of this article, use this link /ENU ([Based on ''[High Quality Print]''] Use these settings to create Adobe PDF documents for quality printing on desktop printers and proofers. work_agjv37fy5fdx5d5kf7okczcxyi La obra de Edgar Allan Poe (1809-1849) ejerció una enorme influencia en las artículo es analizar la forma en que los textos de Poe fueron plasmados por un recorrido por las principales ilustraciones que se han hecho de la obra del autor reproducir distintos párrafos de los textos de las obras de Poe seleccionadas, así como reputación de Poe en Francia ha sido alta gracias a las traducciones que de sus trabajos de la obra, sino que en una tarea de libre asociación el pintor inventó los títulos de las La interpretación que realizó Manet del poema se caracteriza por ser de un estilo que ocurre con Manet, en sus ilustraciones aparecen los dos ámbitos del poema: el real, Si bien las ilustraciones que realizó sobre la obra de Poe fueron encargadas en la atmósfera de horror que envuelve a las historias de Poe. De hecho, en la figura 20, work_aj72oub6uzbztkyiyfiqi623we Le Livre d''Artiste: Louis Brocquy and The Tain (1969) Le Livre d''Artiste: Louis Brocquy and The Tain (1969) Exile of the Sons Uisliu, the first part of the Táin saga, was published in an edition of twenty-five copies illustrated by Mia Cranwell in November, , fifteen years before The Tain was completed.4 In its design, the Dolmen Edition Tain echoes the livre d''artiste in every Louis le Brocquy, Shield Drawing, The Tain (), p. In this context, le Brocquy''s drawings have a less expressive, more decorative role reminiscent of the artist''s earlier illustrations for the Clarke and Many of le Brocquy''s brush drawings for The Tain have an elusive, enigmatic quality that leads to sensitive symbioses between verbal text and visual In his Tain illustrations, the ability of le Brocquy''s drawings to emerge and Following the publication of The Tain in , le Brocquy illustrated six work_ajubuv5u7jgbnfhv27sh3ju2ju York City Ballet, Jofffrey Ballet, and post-Diaghilev Ballet Russe companies; national its nineteenth-century predecessors, the Ballets Russes was a choreographer''s theater, a laboratory for experiment that explored new technologies of the body and defijined the art of choreography as the quest for new of Richard Buckle''s hugely successful Diaghilev Exhibition at the Edinburgh Festival, to the mid-1980s, and focuses on the rediscovery of "original" Ballets Russes artifacts, choreographies, and narratives. not lack for works to dance, but the new Ballets Russes repertoire made post-Diaghilev Ballets Russes companies would spring into existence. major post-Diaghilev Ballet Russe enterprises, had any interest in experithis process consisted of a handful of Fokine ballets (Les Sylphides, Firebird, Schéhérazade, Petrouchka, Le Spectre de la Rose), Nijinsky''s L''Aprèsmidi d''un Faune, Massine''s La Boutique Fantasque and Le Tricorne (although Among this new scholarship I would include my own book, Diaghilev''s Ballets Russes, published in work_ak3bvlltpvbgdeam2hgigb7b3y Adolf Karol Sandoz was a 19th-century Polish artist who spent his life and article is to introduce Sandoz''s journey to Algeria, analyse his paintings with exotic Adolf Sandoz''s work from Algeria and orientalist painting of the second half of the Sandoz''s works in the wider context of orientalist painting in the second half of the Algeria also featured in works by French painters of the early 20th century (Denis Painter-Travellers, Paris 1994, 55; Vidal-Bué, L''Algérie des peintres, 20. 1883 in Algeria.20 After his return, he exhibited works with oriental subject matter, [25] During his first journey to Algeria Sandoz made a painting titled Dancer from Apart from Sandoz, prayers in the desert in Algeria were painted by Adolf Sandoz''s work from Algeria and orientalist painting of the Sandoz was one of many painter-travellers who visited oriental lands in search of Adolf Sandoz''s work from Algeria and orientalist painting of the second half of the 19th century work_akchoj64rzaonfacx6etoiyo2i LLOYD NEY''S NEW LONDON FACETS: ABSTRACTION AND REBELLION IN THE Lloyd Raymond "Bill" Ney''s mural New London Facets was commissioned for Lloyd Ney, New London Facets, 1941, Oil on Canvas. Figure 1: Lloyd Ney, New London Facets, New London, Ohio post office, 1941. Lloyd Ney''s mural, New London Facets (figure 1), has long been described New Deal''s Section of Fine Arts'' thorny relationship with abstraction. and commissioned him to paint a mural in the New London, Ohio post office. favor public, abstract art, as in the case of the New London, Ohio commission. both Ney''s career and the Section''s attitude towards abstract art. London Facets commission, I shall discuss the artist, Lloyd Ney, and his body of work Ney, Color study for the New London, Ohio post office. Ney, Color study for the New London, Ohio post office. Figure 39: Lloyd Ney, New London Facets, 1941, Oil on Canvas. work_amysq7fbgjdxxddfnq2c57y2ju l i k e t o thank Hans Hofmann"s students, Mr. L i o n e l Thomas, S e i t z , Hans Hofmann, New York, Museum of t h i s p e r i o d , 1 9 4 4 , that Hans Hofmann had h i s f i r s t oneman show i n New York at Peggy Guggenheim''s "Art of t h i s J u l y , 1953, c i t e d i n Hans Hofmann, New York, Harry N. J u l y , 1953, c i t e d i n Hans Hofmann, New York, Harry N. J u l y , 1953, c i t e d i n Hans Hofmann, New York, Harry N. Canadians attended the Hans Hofmann School of Art i n New developed from the ideas of Hans Hofmann''s school and work_asooqphl2za3bostk6uorwuxqy sino para aquellos que, por su lado, están expresamente abiertos a ella. PalabRas clave: Heidegger, origen, obra de arte, cosa, útil, verdad como alétheia. El Origen de la obra de arte es el primer texto del libro Caminos / que no llevan El Origen de la obra de arte es, así, antes que nada, un texto en el que Heidegger das Zeug es en alemán una palabra singular (en todos los sentidos del término, y, ante sin embargo, está orientado por una finalidad, hasta el punto, inclusive, que cuanto más lugar, porque es la palabra que encontrarán en la traducción francesa; pero también, para Así, en alguna parte de Ser y Tiempo dice Heidegger que un camino es un util (mientras Pero, más que hablar como se habla habitualmente, tomémosles la palabra a las ser el soporte de los cubiertos, de la vajilla, en una palabra, de todo aquello que work_awuaiypxevbbrkuvv7uz4dejca work_awwathv6evcmneedcv2oh6p46u Hartley queer artists working in later generations utilized similar methods of encoding to of the queer artists Jasper Johns and Robert Rauschenberg. methods Katz applied to Rauschenberg and Johns to the work of the modernist Marsden November 19, 2016, https://www.theguardian.com/artanddesign/2016/nov/19/robert-rauschenberg-justsomething-be-around; Jonathan Katz, Andy Warhol (New York: Rizzoli, 1993), 1-2. From here on out, I will refer to these works made following von Freyberg''s death as Hartley''s The queer artists and lovers Robert Rauschenberg and Jasper Johns were introduced to In a similar fashion to Marsden Hartley, Rauschenberg and Johns encoded their queer symbols found in the works of Rauschenberg and Johns done shortly before and encode their sexualities within their works of art to hide their queer identities from the In the years since Rauschenberg, Johns, and Warhol first made encoded art, series and the works created by Robert Rauschenberg and Jasper Johns during their work_axsmcnxvfncmnltqwc734epwoi Abstract: An oil painting by Claude Monet, Port-Goulphar, Belle-Ile 1887 ~collection of the Art Gallery of New painting was revealed by optical microscopy, scanning electron microscopy ~SEM!, energy dispersive X-ray regions of Port-Goulphar, Belle-Ile. Nine different pigments were found on the painting. The Art Gallery of New South Wales is conducting a comparative study of the painting techniques of Claude Monet Port-Goulphar, Belle-Ile painted by Claude Monet in 1887 from the collection of the Art Gallery of New South A magnified section of the lower right-hand side of the painting in Figure 1 showing the complexity of color Optical micrograph with visible incident illumination of the cross section of a paint chip excised from the Optical micrograph with visible incident illumination of the cross section of a paint chip excised from the A high magnification backscattered electron image of a yellow region of the painting reveals that the areas contain rod-like pigments ~Fig. 8!, which work_b7cwv4jn75bozbnft4vlwqq5cy We develop a method for classification of works of art based on their price dynamics. developed clustering algorithm to group artists that represent similar styles. empirically on a ten-year sample of price data for paintings by 58 artists. the aim is to cluster artists with similar styles by observing price dynamics of sold works of art. Hierarchical clustering algorithms can work either bottom-up, by agglomerating points and Figure 3: Tree built by hierarchical clustering algorithm with cosine distance and complete similarity Figure 4: Clusters identified with Laplacian eigenmap algorithm. would also like an "objective" measure of how "similar" artists within a cluster are, and how Number of artists in each cluster that represent different styles. be any relationship between style and the clusters identified by the hierarchical tree algorithm. and we could reject that these clusters were random with respect to style and age of artist. work_bdgouxk4a5fqve3cmyifkucwra Others are fakes or forgeries, like the BVermeers^ painted by Han van Figure 1 A fake, the original is BLodge on Lake Como^ by Carl Frederik Peder Aagaard (1833–1895) the information needed to produce a new painting by Rembrandt. would be as close as possible to Rembrandt''s style and way of painting. Bauthentic^ in style and content, but not Boriginal^, in terms of archetypal source, like artefacts, like Microsoft''s Rembrandt, or inauthentic but original artefacts. example of an inauthentic original ectype was provided in March by an audio recording We saw that the production of ectypes does not stop at the work of art, but involves easy to imagine that, like Magritte faking his own painting, they will start producing Table 1 Archetype, fake and ectypes Original source Authentic production Next, as regards new artefacts, because originality and authenticity are like the Microsoft''s Rembrandt, or Kennedy''s speech. work_bj3l4yocmzbuno6plcdg2jl43i Ele observa, em relação ao trabalho de Wagner, que não se pode, por certo não é que o Klein de hoje não é o mesmo dos anos 1960. Para ser ainda mais severo com Restany – mas ele merece, seus sucessores –, sabemos hoje muito mais sobre Klein, agora que o ele, de fato, poderia ter dito de diferente sobre Klein: por exemplo, quando a atenção para os pequenos "livros" que Klein "publicou" em Madri antes de Mas como Rosenthal também nota, e embora Klein se referisse a esse trabalho como uma "seleção de reproduções de sua obra" (removendo as aspas que ele formular seu desprezo para com a art informel, que também era embaraçosa: Em um de seus muitos relatos autobiográficos (que servem para fortalecer sua legitimidade, tal como Yves peintures), Mais do que qualquer outro artista dos anos do imediato pós-guerra, Klein work_blnkiy37nrd2dblh35dqg6dd3q Roland Barthes, Moda Dizgesi adlı yapıtında özel bir dilsel biçim olarak moda göstergelerarası bir yöne kayarak değişik söylem biçimlerinde (burada moda ve giysi) koleksiyondaki bir giysinin ya da giysiler toplamının değişik giysi türleri olduğu kadar sanatsal Önce bir askerlik terimi olarak kullanılan, daha sonra sanatın alanına aktarılan avangard kavramı modada söz konusu diğer sanatsal biçimlerdeki gibi anlamsal bir çeşitlilik ve derinlik aramamak mode (Moda Dizgesi) adlı çalışmasında, yazıya geçirilmiş modanın özel bir dil dizgesi olarak ve dilin belli bir zamanda ve uzamdaki özel kullanımı olan söz arasında yaptığı ayrıma benzer. "Aynı nesneye (burada moda) alışılmışın dışında, başka bir açıdan bakmak onu anlamsal olarak Barthes''ın öngörüsüne koşut olarak, kimi tasarımcılar belli bir bildiri vermek ereğiyle gönderme yapar, onları düşünsel ve kavramsal olarak dönüştürerek yineler, yeni bir yapı/biçim kurgulanır, bir giysi özellikle yeni dönem tasarımlarında olduğu gibi başka bir giysinin üzerine Simons''un 2012 sonbahar – kış koleksiyonu için tasarladığı bir başka giysi izlenimci resmin work_bmag6nnf4fd2zpweha7tgjnqqi do consumo contemporâneo e traz alguns subsídios, a partir do pensamento atual de Lipovetsky (2004 e 2007), ao passo que também fundamenta sua discussão a partir dos casos do Tilleke & Gibbins Museum of o consumidor quanto aos tipos de contrafação, bem como espaços de denúncia para o reconhecimento da obra contrafeita, buscando evitar este Studi sul Falso da Universidade de Salerne, Itália, que, com proposta semelhante aos dois museus anteriormente citados, mantém o referido espaço, por meio de trabalhos de sua empresa de consultoria, que também produtos duplicados com marcas diferentes constituem uma parte importante da mostra do museu, a exemplo dos aparelhos para barbear BIC No Museu da Contrafação de Paris podem-se encontrar documentação e informação sobre os processos que fazem parte da pirataria, suas No caso dos produtos apresentados no percurso do museu, cabe entender a adaptação no sentido dado por Schnaars (1997), que "[...] work_bnbvmodb6be2ppzezbtqjqw3fi poses a challenge for artists: a mark situated on an otherwise blank canvas will appear a different color in the context How do artists account for this change in color during the production of a painting? broader context of neural and philosophical considerations of color, I discuss the practices of three modern masters, on the neural mechanisms of color, but also influenced the trajectory of western art history. Color poses an enormous challenge for artists because the way a painted mark will ultimately appear The visual system as feedback device used to paint color: Paul Cézanne (1839–1906; French) Study of trees 1904 Oil on The visual system as feedback device used to paint color: Claude Monet (1840–1926). The use of achromatic borders to separate colored regions in paintings of Henri Matisse. The development of color in the later paintings of Henri Matisse accentuates their inherent flatness. work_bs6wgrgacfawlm5lzi7pa5atma Artistic Power Value (APV), is based on the price per unit of area (dollars per square Several authors have employed hedonic pricing models (HPMs) to estimate returns Data Set B consists of 441 observations of Henri Matisse''s paintings auction prices and total returns are computed based on the average APV values for two consecutive years. estimated with the APV metric and the returns calculated using HPMs. APV and HPM-based Year-to-Year Total Returns: Averages, Standard Year-to-Year Total (APV and HPM) Returns for Henri Matisse Sales year-to-year market return estimated by (i) the APV-metric and (ii) the adjacent HPMs was As in the case of the total returns the comparison validates the estimates provided by the APV Average Year-to-Year Market Returns: Based on (i) APV and (ii) Adjacent Year-to Year Market Returns for Pierre-Auguste Renoir Based on (i) APV Year-to Year Market Returns for the Impressionists Group Based on (i) APV work_c6ettxiwdbdpvj3yiirl456fay She went on to add: ''Hungarian art history needs to be rewritten.''1 not to have been the first avant-garde stirring in the history of Hungarian art. create a new and extensive Hungarian national culture in the spirit of German works by Hungarian artists that were created under French influence, and As a fine arts example of the movements active in the different spheres of cultural work, ''The roads parted'', a response to ''Inquisitive Art'',19 Kernstok''s text setting out 19 Kernstok, Károly: ''A kutató művészet'' [Inquisitive art], Nyugat, 3:1, 1910, 95. political and artistic ideas of Kernstok, who was especially critical of German art, The ''very different means'' and their various misunderstandings in the art of of the painter''s soul.''38 On the other hand, Kernstok, in ''Inquisitive Art'', debates that became more lively following the ''Hungarian Fauves'' exhibition at the Lukács we can glimpse the essential difference between the open art of Cézanne and work_ca4su7c6qvhwlc65xubezqbyci techniques and gives many examples of levels in models, architectures and frameworks. Keywords: modeling; abstraction; decomposition; hierarchy; systems science A common mistake in modeling systems is mixing elements of different levels in the A common mistake in modeling systems is mixing elements of different levels in the we present some generalizations that are meant to help modelers and designers to define levels systems engineers, physical decomposition often offers these levels (Morganwalp and Sage four decades of teaching is creating elements at different levels in the same model; for example Models with use cases at different levels of abstraction will be hard to understand. Mistakes in mixing elements of different levels are common in abstract systems, but not in These are aspects, not levels: a business model, for example, can have a lot be added to the company''s model until after its lower-level process areas had already been work_cefvqcvuwvfwtdfzd6nxykqe5a Journal of Aesthetics & Culture: Vol 13, No 1 Journal of Aesthetics & Culture Journal of Aesthetics & Culture An open access journal Journal information Journal news Read new Special Issue Login or register to access this feature Register a free Taylor & Francis Online account today to boost your research and gain these benefits: Download multiple PDFs directly from your searches and from tables of contents Choose new content alerts to be informed about new research of interest to you Journal of Aesthetics & Culture, Volume 13, Issue 1 (2021) Most read articles Most cited articles Open journals Taylor and Francis Group Facebook page Taylor and Francis Group Twitter page Taylor and Francis Group Linkedin page Taylor and Francis Group Youtube page Taylor and Francis Group Weibo page To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. work_cpepy23c2nbcnddjdodrffvuqa [PDF] Microbe interactions undermine predictions. Corpus ID: 206593425Microbe interactions undermine predictions. Molecular, Epidemiological, and Clinical Complexities of Predicting Patterns of Infectious Diseases View 1 excerpt, cites results View 1 excerpt, cites background View 1 excerpt, cites background View 1 excerpt, cites background View 1 excerpt, cites background View 1 excerpt, cites background The Journal of infectious diseases Clinical microbiology and infection : the official publication of the European Society of Clinical Microbiology and Infectious Diseases Clinical microbiology and infection : the official publication of the European Society of Clinical Microbiology and Infectious Diseases We recognize articles as referring to nonfictional people by their membership in a "year_births Semantic Scholar is a free, AI-powered research tool for scientific literature, based at the Allen Institute for AI. By clicking accept or continuing to use the site, you agree to the terms outlined in our Privacy Policy, Terms of Service, and Dataset License work_dbllj5j3lvguri2ppeiimlqc4e Ardengo Soffici''s engagement with African art was mediated by French Keywords: Ardengo Soffici, Primitivism, Modernism, Cubism, Colonialism, Given Ardengo Soffici''s key role in the development of Italian art, it is necessary to Soffici''s contemporaneous writings about African art and Cubism, the frescoes bring to Mannequins belies Soffici''s rejection of non-European primitivism in his art criticism, and referenced Soffici''s debt to French art rather than Italian colonialism in Africa, during the Soffici''s art criticism, Cubism, and primitivism Soffici was in Paris when French artists "discovered" African sources at the same time, this account of Cubism considers African art''s importance for the French Soffici, "Paul Cézanne", in: Vita d''arte, 8 June 1908; "Henri Rousseau", in La Voce, 15 September 1910; and "Un libro su African sculpture for the development of Italian art, but also that of Cubism, a choice Africans in modern Italian art developed well into late Fascism and did not lead to work_dekvm2hchje3pl33tpeoosmn4e formation of metal oxalates in linseed oil in the presence of the artists'' pigments zinc white, calcite, lead white, zinc which suggests that the carbon source for the oxalate formation is most likely the paint itself (and its oil component) In any case, not all pigments are prone to oxalate formation in oil paint films. the formation of metal oxalates in linseed oil paint films affects oxalate formation, linseed oil paint films with and oil film before treatment (black triangle) and of the corresponding metal oxalates (black circle) are also shown for each pigment. Reference spectra of the oil film before treatment (black triangle) and of zinc oxalate (black circle) are also shown. Formation of zinc oxalate from zinc white in various oil binding media: the influence of atmospheric carbon dioxide by reaction with 13CO2 Formation of zinc oxalate from zinc white in various oil binding media: the influence of atmospheric carbon dioxide by reaction with 13CO2 work_dguhqq6mzbctlemowivqcdpdkm The purpose of this study is to link the Yi tribe''s traditional patterns to bag design. tribe is a minor ethic group in China, whose traditional pattern has a high artistic value in traditional patterns, the cherry blossom_( ), water wave_( ), sky father and earth 花 水波马樱 mother_( ), pomegranate blossom, triangle, sheep'' horn, wisteria vine_( ), square 天父地母 藤条 the traditional patterns, and the creative design process. six bag designs were created using traditional patterns from the Yi tribe. Key words : 이족의 전통문양 가방디자인Yi Tribe'' Traditional Pattern( ), Bag Design( ), 을 자유롭게 배치하였다 문양의 배치 과정에서 디. 양을 함께 사용하여 문양을 배치한 디자인 작품이 5 하였으며 현대적인 이미지를 표현하였다 더불어 중. 되는 기하문양을 함께 배치하였다 가방의 중앙에 . 를 배색하였다 그러나 사각형의 Peat, Golden Oak . 테두리는 로 배색하였다 디자인 는 Nautical Blue . 된 감성을 표현하였다 디자인 은 가장자리에 반. 하였다 디자인 는. work_dh42o6tjqjgn3ngmihchmv4era "canonical logic" of the centre–periphery narrative. The history of modern and avant-garde art is no exception; it is in fact, as the French art historian Béatrice Joyeux-Prunel has pointed out, in line with Joyeux-Prunel''s critical and geopolitical argument that research on international artistic relationships tends to turn a Swedish abstract art between  and . art on show at the exhibition was muchdesired outside Paris. early Swedish avant-garde and the art produced by his mother, Siri Derkert. Rolf Söderberg wrote art criticism and in  published a new exhibition of Swedish cubism and concrete art from  to  that was planned that the Swedish artists exhibited at the gallery local positions of the art historians in Stockholm, where they had dual careers. exhibition of Swedish art in Paris as well as galleries before the  Paris exhibition. exhibition in Paris of Swedish abstract art from work_dklh3bduwffffmqbhznwj6sata de arte são expressivas3, o que faria, por conseguinte, do conceito que elas podem ser trazidas à expressão e, com isso, deixar a sua que inibe, por assim dizer, uma mera relação inferencial com aquilo Esta mostra-nos que o caráter processual atribuído à expressão não pode ser desvinculado da articulação das formas sensíveis que não quero dizer que há expressão sem expressividade. asserção de que o conceito de "expressividade" não pode ser o facto de que a expressão pictórica não pode ser meramente Por vezes, a impossibilidade de uma obra de arte ser expressão de uma imagem não pode ser vertida em palavras, da mesma maneira que a expressão de uma palavra, tal como, por que tanto pode ser suscitada pela produção artística como, por Tomando como princípio basilar a ideia de que não há uma por uma perceção recíproca, um fundamento para a importância que a dimensão work_dmclryopmbc2ljdtxp7haskoty sys_1000 wp-p1m-38.ebi.ac.uk wp-p1m-38.ebi.ac.uk exception exception Params is empty Params is empty Params is empty if (typeof jQuery === "undefined") document.write(''[script type="text/javascript" src="/corehtml/pmc/jig/1.14.8/js/jig.min.js"][/script]''.replace(/\[/g,String.fromCharCode(60)).replace(/\]/g,String.fromCharCode(62))); // // // window.name="mainwindow"; .pmc-wm {background:transparent repeat-y top left;background-image:url(/corehtml/pmc/pmcgifs/wm-nobrand.png);background-size: auto, contain} .print-view{display:block} Page not available Reason: The web page address (URL) that you used may be incorrect. 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Find a specific article by its citation (journal, date, volume, first page, author or article title). http://europepmc.org/abstract/MED/ work_dqud2adhprei3jnj4zdro365pa We study the role of structural defects in the CdS-based cadmium yellow paint to vacancies in the pigment surface alters the electronic structure of cadmium sulfide Such levels are consistent with the optical emission from trap state levels detected in the CdS pigment. the vacancy DOS (red curve) follows different spin up and down profiles and still, the acceptor state To estimate the optical transitions we adopted an affordable method based on the formalism of formation energies, successfully applied in a variety of wide gap semiconductors and agreement with the few research studies carried out on the near-infrared optical emission of cadmiumbased pigments associated with trap states.18–20 Rosi et al.,20 following analysis of the commercial pigment based on hexagonal CdS, has reported two distinct trap state peaks at 1.24 eV and 1.64 eV. Formation energies, Ef (eV), for surface top and hollow Cd vacancies both in neutral and negatively charged states, work_dstd5dp6craircs3clqbgtfsga 7 Elizabeth Mansfield, Making Art History: A Changing Discipline and its Institutions, London and New 15 Jonathan Harris positively refers to Block as ''cult'' in ''Art History'', Year''s Work in Critical and Cultural periodical culture that included Spare Rib (1972-93), Feminist Art News (1980-93), Trouble and 17 Harris ''Art History'', Year''s Work in Critical and Cultural Theory, 1: 1, 1991. 22 Griselda Pollock, Generations and Geographies in the Visual Arts: Feminist Readings, London and New historians writing in Art History at this time – especially Pollock, Tickner, Cherry, Beckett, association''s new scholarly journal titled Art History.45 Whilst various publications mediated 67 Lisa Tickner, ''The Body Politic: Female Sexuality and Women Artists Since 1970'', Art History, 1: 2, feminist debate on the pages of its academic journal Art History. Feminist book reviews in the journal Art History although this article has not examined the writing of feminist art history specifically work_dt5lpkr3zrgsvhuvb4ouu72zji apply scientific and risk-based regulatory the trade and use of food and feed if the Table 1 Current GM biosafety regulations for selected countries product Yes Voluntary n.d. Australia office of the Gene Technology regulator, Food Standards Australia New Zealand Draft Biosafety Guidelines product n.d. No labeling process No n.d. n.d. canada canadian Food Inspection Agency consumer packaging & Labeling Act, plant protection Act product Yes Voluntarya 5% Health canada Food & Drugs Act, canadian environmental Agricultural research Institute, National Table 1 Current GM biosafety regulations for selected countries (continued) Country Governing bodies/agencies Regulations/laws Country Governing bodies/agencies Regulations/laws process Yes Mandatory n.d. New Zealand environmental risk Management Authority, USA US Department of Agriculture Federal plant protection Act National Biotechnology & Biosafety Bill process Yes n.d. n.d. aLabeling required if safety concerns (allergenic, change in nutritional composition) exist. and use of pathology in research. future for GM food and feed regulation work_dur6qvtlwzgphd6wtjn6o6amuq many of the styles among Romanesque art forms suggest publications on Romanesque art when the Pierre-qui-Vire team began. Romanesque art even as the wide variety of examples destabilizes the term. development of the distinction between ''Romanesque'' and ''Gothic'' styles of medieval art, see: Tina Rather, for Surchamp, and thus eventually for the Zodiaque books, Romanesque art sculpture in particular, he distinguished Romanesque art as that by artists who ''Romanesque art'' in the sense that one uses this term today, designating a universal It thus seems that Surchamp''s appreciation of Romanesque art grew French term for ''Romanesque'' in the books'' titles, Zodiaque had already become books with Romanesque art Zodiaque Romanesque art 43 For a review of the historiography of medieval art and the development of the term ''Romanesque'', Marquardt Defining French ''Romanesque'': the Zodiaque series Marquardt Defining French ''Romanesque'': the Zodiaque series Marquardt Defining French ''Romanesque'': the Zodiaque series work_dzxbthylsvhebmyguh6blhhiya John Mack Making and Seeing: Matisse and the understanding of Kuba pattern John Mack Making and Seeing: Matisse and the understanding of Kuba pattern John Mack Making and Seeing: Matisse and the understanding of Kuba pattern John Mack Making and Seeing: Matisse and the understanding of Kuba pattern John Mack Making and Seeing: Matisse and the understanding of Kuba pattern John Mack Making and Seeing: Matisse and the understanding of Kuba pattern John Mack Making and Seeing: Matisse and the understanding of Kuba pattern John Mack Making and Seeing: Matisse and the understanding of Kuba pattern John Mack Making and Seeing: Matisse and the understanding of Kuba pattern John Mack Making and Seeing: Matisse and the understanding of Kuba pattern John Mack Making and Seeing: Matisse and the understanding of Kuba pattern John Mack Making and Seeing: Matisse and the understanding of Kuba pattern John Mack Making and Seeing: Matisse and the understanding of Kuba pattern work_e3tcy7fk6rfzjdqwhfwqg53jjy studies that research learners'' test-taking strategies of reading in relation to MC item types Test-taking Strategies of L2 Adolescent Learners: Three Multiple-choice Items and L2 Proficiency 89 Test-taking Strategies of L2 Adolescent Learners: Three Multiple-choice Items and L2 Proficiency 89 Test-taking Strategies of L2 Adolescent Learners: Three Multiple-choice Items and L2 Proficiency 89 Test-taking Strategies of L2 Adolescent Learners: Three Multiple-choice Items and L2 Proficiency 89 Test-taking Strategies of L2 Adolescent Learners: Three Multiple-choice Items and L2 Proficiency 89 Test-taking Strategies of L2 Adolescent Learners: Three Multiple-choice Items and L2 Proficiency 89 Test-taking Strategies of L2 Adolescent Learners: Three Multiple-choice Items and L2 Proficiency 89 Test-taking Strategies of L2 Adolescent Learners: Three Multiple-choice Items and L2 Proficiency 89 Test-taking Strategies of L2 Adolescent Learners: Three Multiple-choice Items and L2 Proficiency 89 Test-taking Strategies of L2 Adolescent Learners: Three Multiple-choice Items and L2 Proficiency 89 work_e5lcgryhizg3db2xl53be7zoyy Translation offers, indeed, a great ambiguity as far as creativity is concerned. to the creative act that comes with translating. being aware of the act of choice that comes with every written sentence can help translators can lead to a comprehensive creative act that includes the author, the translator and the The process of translating offers, indeed, a great ambiguity as far as creativity is Now, in translation, just like in writing, the ideas we come up with are often time exploring our creative choices, which is the reason why you cannot translate if We could say that the author acknowledges the translator''s creativity and showing her the way through creative writing; author, translator and Professor Being Creative in Literary Translation: A Practical Experience Being Creative in Literary Translation: A Practical Experience These considerations led me to explore the origins of ideas (Johnson), and the nature of creativity (Tan), and eventually to study the relationship between choice and translation (Iyengar). work_e6zohesjqrhqniazzesy4g2haq Doing science making art from those I use in visual art (etching, watercolor and When I started making art as a child, like many novices are often described by non-artists who think art comes predictable results: drawing with lines is useful in depicting object shape; painting a background green makes a red according to Picasso [2], is what making art is all about. Besides pleasure, art serves a useful function: looking at approaches to making art. Although work at the interface of neuroscience and art Making art, as Picasso How did Picasso''s private cognitive work translate into pictures that had, and continue to have, a profound effect on us? provide an even richer data set for neuroscientist interested in brain mechanisms of cognition, as artists pursue the art and science. Finding something new in art or science, writing about it, doi:10.1016/j.tics.2012.03.007 Trends in Cognitive Sciences xx (2012) 1–3 work_edckluok3zf7pfilznvdzbmlga Nissim Gal, Traces of the Unrepresentable in the Modernist Discourse of Clement Greenberg and Michael Fried, RIHA Journal 0074 The present essay aims to remap the modernist writing of Clement Greenberg and his Clement Greenberg and the early Michael Fried, reveals a theoretical element or perception of American art criticism contrasts between the Apollonian Greenberg and the Dionysian term "Modernist painting" is a picture before it is content, flatness appears before it is conditional upon the flatness of the support, i.e., Greenberg seemingly proposes the [17] In this context the painting serves Greenberg as a kind of frame, as a question enabling 41 T.J. Clark, "Clement Greenberg''s Theory of Art" (first published in Critical Inquiry 9:1, September 51 Michael Fried, "How Modernism Works: A Response to T.J. Clark" (first published in Critical optical illusion as a space where Fried''s moment of grace, "presentness", appears. work_eddh6e24vjgnddxsiiulmcng2i Pored toga što je jedan od kourednika časopisa Oktobar i profesor moderne umetnosti na Univerzitetu Harvard, Buhloh je ključni svedok fenomena vidi Oktobar kao model otpora koji je morao da nastane zbog toga što Artforum više nije ono što je bio šezdesetih Govoreći o svom životu, Buhloh je ukazao na karakteristične trenutke u kojima je stupao u kontakt sa markističkim misliocima, poststrukturalistima ili američkom kritikom i kako je, samopreispitivanjem svog rada u polju umetničke kritike koji je započeo šezdesetih godina u Nemačkoj, Sve pojave koje podrazumevamo kao temeljne tačke razvoja savremene umetnosti, on je sagledavao u trenutku kada su nastajale, tamo gde su nastajale ili na mestima gde se prelamao njihov uticaj na ostali deo sveta, na U tom trenutku, kasnih sedamdesetih godina, naročito iz perspektive posleratne Nemačke, činilo se da je umetnička proizvodnja u Americi (pre svega pop-art, fluksus, minimalizam i konceptualna umetnost), kao i diskursi work_ehn5tdmkezbuzbpjzsfpbykoti work_ejuchsj4qrfebb4wcmrtfklxg4 Kuh''s forgotten role in mediating representations of American art deserves rehabilitation because by heralding New York painters as the American Artists Paint the City positioned the New York School as inheritors of a new world modernist heritage in the mid-1950s, a view only recently Unlike Greenberg, many members of America''s arts establishment demonstrated open skepticism about Pollock''s accomplishments and Abstract Expressionism in general, seeing it simply as one of many artistic achievements worthy American Artists Paint the City, xxviii th Biennale, Venice, 1956 (Chicago: R. 1. Katharine Kuh, American Artists Paint the City, xxviii th Biennale, Venice, 1956 (Chicago: 1. Katharine Kuh, American Artists Paint the City, xxviii th Biennale, Venice, 1956 (Chicago: 1. Katharine Kuh, American Artists Paint the City, xxviii th Biennale, Venice, 1956 (Chicago: "American Artists Paint the City," Arts 30 (June 1956): 26, 28, 29. Artists Paint the City," News Releases from the Art Institute of Chicago, March 27, 1956. work_enjndnzo7fbc7a3yebetl66bvy To cite this article: Phyllis Rosenzweig (2010) Drawings and Prints by Slavic and SlavicBorn Artists in the Collection of the Smithsonian Institution, Hirshhorn Museum and and Slavic-born artists in the collection of the Hirshhorn Museum Artists (ACA) Gallery, Hirshhorn Museum and Sculpture Garden, Slavic coincided with Hirshhorn''s desire to become a collector of work by contemporary living artists, and that the cousins socialized and continued to look at art ACA Gallery, September 11, 1943, which also includes his thoughtful observations on the work of several artists, Hirshhorn wrote: Works on paper by many other Slavic and Slavic-born artists collected by Some of the works on paper by Slavic and Slavic-born artists in the museum''s Hirshhorn acquired works on paper that are now in the museum''s collection more Slavic-born artists represented by works on paper can be found than are Further information about artists and their works in the museum''s collection work_eo2ddmjuenfxbdcswow67jomg4 Unluckily for Cavallini, he wasn''t one of the famous Florentines, and future generations let him sleep in his grave. Vasari remembered Cavallini''s frescoes for the Trastevere church of S. Like other artists in his time, he let the Cavallini''s mosaics, depicting the life of Mary and the birth and (In his mind''s eye he sees the tragedy to come.) Cavallini''s figures seem sculpted, bringing to mind Arnolfo da Cambio – Re-crossing the Tiber early in the new century, Cavallini put his Always in Cavallini it''s the eyes that compel attention, and Christ''s, Every door looks two ways, like Cavallini''s art, didactic but new.'''' Little in Italian art before him prepares us for his apocalyptic Virgin Clothed with the Sun, painted for the Neapolitan church Art historians credit Cavallini with other paintings in Naples, Cavallini''s Virgin in the Donna Regina church shares the west Cavallini, next door in the convent, is new. work_er3b6bwywrcevmzlvnro5mz2ni From 1919 to 1928, the National Gallery loaned paintings to the Provincial Exhibition, and works from the members of the Group of Seven were 4 I n John Vanderpant: Photographs ( O t t a w a : National Gallery of C a n a d a , 1976), opened the Vanderpant Galleries at 1216 Robson Street, Vancouver. For eight years, 1928 to 1936, Vancouver''s intellectual and artistic communities were drawn to musical evenings at the Vanderpant Galleries. O n designated evenings guests would listen to selections from Vanderpant''s extensive record collection, which included classical works by Bach, B.C. Pictorialists (exhibition catalogue; Vancouver: Vanderpant Galleries, 1927). John Vanderpant and the Cultural Life of Vancouver 49 John Vanderpant and the Cultural Life of Vancouver 49 John Vanderpant and the Cultural Life of Vancouver 49 John Vanderpant and the Cultural Life of Vancouver 49 John Vanderpant and the Cultural Life of Vancouver 49 work_euohbjfyjnfe7b6p5uslhnl6fe In insect and vertebrate eyes, different types of color-detecting photoreceptors are randomly distributed throughout the retina. mechanisms that generate the retinal mosaic required for color vision. with an R8 cell expressing Rh5; and with an R8 cell expressing Rh5; and photoreceptor cell types is well Organization and development of Drosophila color-sensitive photoreceptors. Specific combinations of rhodopsin expression define pale Different levels of spineless expression lead to a cell-autonomous Rh3/Rh4 fate choice in R7, followed by an induced or default R8 differentiation. endogenous, cell type specific rule; in R7 cells, however, spineless differentiating pale R7 cells, using inner receptor cells pairing. cell to express the Rh5 protein the Spineless-positive R7 cells, spineless expression, either by Stochastic spineless expression photoreceptor cells. photoreceptor cells. photoreceptor cells observed in vivo. photoreceptor cells of Drosophila: cell with the geomagnetic field Eye Development: Random Precision in Color Vision Eye Development: Random Precision in Color Vision work_evhxhw6tardqhcvso3buefaxcm for expressing queries in a content-based image retrieval environment yet there is little empirical investigate the usability of the query by colour method in supporting a range of information problems query by colour, visual information retrieval, usability effective information retrieval including their expressive power and the impact of the query on retrieval performance, especially with real end users, for colour retrieval, image information seeking behaviour, and related experimental evaluation studies. In contrast, content-based image retrieval requires searchers to express their information problems as visual queries. interaction paradigm of their sketch query tool developed for the Art Museum image retrieval system Query by Colour : Investigating the Efficacy of Query Paradigms for Visual Information Retrieval 157 Query by Colour : Investigating the Efficacy of Query Paradigms for Visual Information Retrieval 157 Query by Colour : Investigating the Efficacy of Query Paradigms for Visual Information Retrieval 157 work_evq7jwmjufa6pjlx3wsz3wzel4 paintings are similar and include Prussian blue, ultramarine, viridian, strontium yellow, chrome yellow, cadmium yellow, iron oxides, lead, zinc and barium whites, bone black and organic red. Keywords: Liu Kang, IRFC, MA-XRF, SEM–EDS, Pigment identification, Hidden painting Table 1 Pigments detected in the painting Zuo La Lu by SEM–EDS and PLM Fig. 4 Visible light image and MA-XRF maps of Zuo La Lu showing the distribution of the detected elements. revealed the presence of green and blue paint to be unrelated to the final image (Fig. 6). The blue paint was brightened with the addition of zinc and barium whites based on the SEM–EDS Fig. 9 Visible light image and MA-XRF maps of Nude showing the distribution of the detected elements. A preliminary study of Liu Kang''s palette and the discovery and interpretation of hidden paint layers A preliminary study of Liu Kang''s palette and the discovery and interpretation of hidden paint layers work_eyttdmp5hba2dgjgj6ay2x5pna The Formative Ceramic Arts by Applying Expression of Cubism 고 있으며 다양한 요구에 의해 개성과 취향을 만족시킬 수 있는 디자인 개발이 이루어지고 있다. 양상을 도입하는 과정에서 주어진 상을 복수시 으로 감지하고도 2차원 인 평면에 표 한 입체주의 시 회화의 한계를 넘어 입체감과 공간감의 표 을 해 조형 측면에서 근하여 제작하 다. 인의 다양한 표 욕구에 부응할 수 있는 새로운 한 입체주의 시 회화의 한계를 넘어서 입체감과 공 간감을 지닌 도재 조형물을 제작하여 다양한 각도에서 는 입체주의 작품의 표 양상을 도 의 표 역으로 20C 미술계의 커다란 환 이었던 입체주의(큐비즘 나. 입체주의 작품의 표현 양상 그리고 이러한 단편들이 첩되고 입체주의 조각은 피카소의 조형 실험을 그 출발 새로운 자극을 받은 것은 특히 이미 리 입체주의 내 든 새로운 양태의 작품을 만들었다. 고 있으며 이들은 도자의 개념에 한 변역을 시도하 다. 이후 피터 볼커스<도 16,17>, 존 메이슨(John 한 변화를 추구하는 가운데 나타나고 있는 새로운 방식 평면에 표 한 입체주의 시 회화와는 달리 입체감과 work_f3apmctpofbural37srvzrqgu4 Arnold Schoenberg''s "monodrama in one act," ERWARTUNG opus 17 ERWARTUNG became the main generating force which encouraged the composer''s contemporaries to attempt to create new musical Afnold Schoenberg (1874-1951) composed the one-act monodrama ERWARTUNG opus 17 in a fury of inspiration, completing the ERWARTUNG was Schoenberg''s f i r s t completed stage work. With ERWARTUNG Arnold Schoenberg reached the point stated as ERWARTUNG and DIE GLUCKLICHE HAND, Schoenberg''s main concern In ERWARTUNG in particular, Schoenberg was interested only in projecting a hysterical woman'' Arnold Schoenberg''s stage works, particularly ERWARTUNG, musical expressionism describes works which solely express the composer''s thoughts, feelings, and visions. In ERWARTUNG and a l l his works to follow, Schoenberg was preoccupied with the musical representation of the inner mind. musical structure of Schoenberg''s expressionist works. aspects of Schoenberg''s atonal works (including ERWARTUNG) should be that ERWARTUNG is a Freudian music drama and that a l l the Woman''s work_fayvipl3anchbipevihencnxgy A Study on the Color Extendability in Mark Rothko''s Color-Field Abstract Abstract This study is aimed at understanding the color extendibility of color-field abstract through Mark Rothko''s paintings. Color extendibility is a structure applied by Mark Rothko. Keywords 마크 로드코, 색면추상, 색의 확장성, 피겨, 그라운드, 파레르곤, 에르곤 Mark Rothko, Color-Field Abstract, Color Extendability, Figure, Ground, Parergon, Ergon The Artist''s Reality: Philosophies of Art, Christopher Rothko Apollinaire)가 1910~1914년경 들로네 작품의 새로운 형식을 보고 제시하는 것이 아니라, 보이지 않는 것을 보이게 하는 것이다.''라는 때 색면은 캔버스 밖에 있는 관람자에게 작품의 안도 밖 캔버스에 다양한 기술을 활용하여 표현한다. 션 하였다.''21)는 로드코의 관점에서 색의 확장성 요소를 Meaning of Modern Art, Northwestern University Press, 1979, p.72 4. 마크 로드코 작품의 색의 확장성 Rothko, The Artist''s Reality: Philosophies of Art, Yale 1958년부터 그의 색면은 점점 어두운 색조(maroon, 30) 그림출처: http://neo-alchemist.com/tag/mark-rothko/ 둘째, 여러 겹으로 공명(共鳴)된 얕은 색면은 피겨와 이러한 색면은 8. Mark Rothko, The Artist''s Reality: Philosophies of Art, work_fbedmsry2fd5ljzo32yb3arnmq frequency of times the common names of 250 fishes appear in the corpus of digitized English books However, cultural services have not yet been adequately integrated within the ecosystem service framework and are generally excluded from economic evaluations, a fact raising ethical issues with KEY WORDS: Fame · Famon · Goldfish · Carassius auratus · Darwin · Ecosystem services · Cultural one considers that out of the 33 200 currently recognized fish species (Froese & Pauly 2015) about onethird are used by humans as food, in the fishmeal industry, for bait, in aquaculture, in recreational and phrase) appears in the corpus of books, and investigated its usefulness in social sciences and humanities. use of the common names of 250 fish species in the (i.e. no Ngram frequencies for 1800−2000) for 57 species, to 117 famons for goldfish Carassius auratus. goldfish is the most famous fish in the English speaking world based on the number of famons. work_ff6mnzj25zegrct2ipe5o6jtxq as lXRF, lXANES, and lXRD to elucidate the degradation processes of paint containing CdS yellow pigment. 2D X-ray and FTIR micro-analysis of the degradation of cadmium yellow pigment in paintings of… 979 2D X-ray and FTIR micro-analysis of the degradation of cadmium yellow pigment in paintings of… 979 2D X-ray and FTIR micro-analysis of the degradation of cadmium yellow pigment in paintings of… 979 2D X-ray and FTIR micro-analysis of the degradation of cadmium yellow pigment in paintings of… 979 2D X-ray and FTIR micro-analysis of the degradation of cadmium yellow pigment in paintings of… 979 2D X-ray and FTIR micro-analysis of the degradation of cadmium yellow pigment in paintings of… 979 2D X-ray and FTIR micro-analysis of the degradation of cadmium yellow pigment in paintings of Henri Matisse 2D X-ray and FTIR micro-analysis of the degradation of cadmium yellow pigment in paintings of Henri Matisse work_ffpddqu6s5gotcryac6mxxfluu In order to test predictions concerning the time course of understanding and aesthetic appreciation [Leder, H., Belke, B., Oeberst, A., & Augustin, D. art knowledge becomes significant, if there is sufficient time to assign a meaning and the present studies reveal the importance of considering the time course in aesthetic appreciation. According to the model, aesthetic processing of an artwork involves a number of processing stages, which might somehow proceed sequentially and therefore allow the formulation of hypotheses concerning time sensitive processing of art. we investigated whether different presentation times reveal a differential effect of descriptive and elaborative titles. 2 investigated the effects of presentation time on ratings of liking and understanding of First, effects of titling conditions on the aesthetic experience (liking and understanding) Given a medium long presentation time of 10 s, elaborative titles increased the understanding of a painting quite similar as shown in work_fis5jqyzjrfzrn2aklakmhuyra evidence for the presence of cadmium sulfate and sulfites as alteration products of the original CdS-based paint and spectroscopy studies of the painting in combination with synchrotron-radiation x-ray microspectroscopy investigations of a microsample and artificially aged mock-ups show that moisture and mobile chlorine compounds are key series of CdS-based oil paint mock-ups. the areas where ultraviolet–visible–near-infrared (UV-vis-NIR) reflection and fluorescence spectroscopy single-point measurements were performed (see Fig. 2 1910) (see Fig. 1 for the sampling spot) and corresponding SR -XRD distribution of (B) hex-CdS and (C) Cd(OH)Cl/CdSO4/CdCO3 oxidation process of the CdS-based oil paints on The Scream (ca. of moisture on the oxidation process of the CdS-based oil paint in and distribution of the different CdS-based paints used by Munch of oxidized sulfur compounds in the CdS-based paints of The Scream thin sections of the CdS-based oil paint mock-ups were investigated work_fszn4zg5cnh37ftwi3s77uq7om Palavras-chave: Centralidade urbana, Euralille, Rive Gauche, Illa Diagonal, Centro Internacional Tequendama-Bavaria. * Este artículo recoge algunas de las reflexiones desarrolladas en las tesis doctorales de los autores del artículo: Espacios de centralidad urbana y redes de infraestructura (UPCBarcelona) de Miguel Y. centros especializados (de negocios, comerciales, direccionales, etc.) y de grandes conjuntos habitacionales periféricos que tienen garantizado su acceso y conexión con el resto de la ciudad, gracias a las infraestructuras de transporte. Por lo tanto, tal centro se establece como la relación existente entre el punto –origen del círculo–con toda el área contenida 7 Todas las áreas de la ciudad deben poseer lugares con valor de centralidad y todos sus habitantes deberían poder acceder con igual facilidad a los centros urbanos o metropolitanos. vía principal de acceso y de distribución del tráfico hacia el centro por la inexistencia de las calles transversales que le dan coherencia al sistema viario. work_fw5hn5vfkjbwfjszhpzvrlh7ry који можемо препознати као уметнички правац или већ то што представља кад понавља или опонаша није објект, and the main architectural tendencies, with the aim of also indicating the possible existence of elementary creative orientations Други вид миметичности јавља се код објеката који су визуелно камуфлирани и привидно нестају у окружењу (сл. Compared to art in general, the notion of mimesis in architecture Примери који на адекватан начин презентују ово креативно опредељење у архитектури нису толико чести, јер су у првобитног узорка, али на који у већој или мањој мери приликом чега настају дела која у обликовном смислу могу Сензибилитет за овакав начин опажања и одлучивања своди се на количину, број детаља у стимулацији, или Психолошки тип, по Јунгу (Carl Gustav Jung), представља пример или образац, према коме се на карактеристичан начин, of expressiveness with the art movement of expressionism, Prominent examples of expressiveness in architecture are works work_g43il6loobdbdcvkz72th65r6a artists'' books with an offset-litho press for years, and has gives back control to the originator" and modern technology "will change and develop my work in books."4 As for artists'' books existing in their current form in the one thing which makes artists'' books quite different Encouraging as it is to see exhibitions of artists'' books For the past eight years the London Artist''s Book Fair7 past few years major players in artist''s book publishing 7 The London Artist''s Book Fair, currently held artists'' books exhibitions at Hardware Gallery. of artist''s book exhibitions. The Dictatorial Perpendicular: the Artist''s Print and the Book produce and publish Art Works, a collection of artists'' to work on new pieces, from books and exhibitions to Book Works has published artists'' books and text works by artists including: Susan Hiller, which Book Works commissioned a series of texts, A major exhibition of artists'' books work_g7qkcaeg3jbqrcgyqp7nnlpira Thermal Interaction for Improving Tactile Artwork Depth and Color-Depth Appreciation for Visually Impaired People Keywords: visually impaired people; accessibility; art appreciation; color; temperature-depth coding; colors to the visually impaired user through temperature cues. temperature cues were used as a way of conveying depth levels of the different features of the artwork. of that thermal-depth mapping will be explored with the goal of assigning temperature to objects in Results from Temperature-Depth Correlation Test with the Sighted Users Results from Temperature-Depth Correlation Test with the Sighted Users Results from Temperature-Depth Correlation Test with the Sighted Users Results from Temperature-Depth Correlation Test with the Sighted Users Results from Temperature-Depth Correlation Test with the Visually Impaired Users Results from Temperature-Depth Correlation Test with the Visually Impaired Users Results from Temperature-Depth Correlation Test with the Visually Impaired Users Results from Temperature-Depth Correlation Test with the Visually Impaired Users work_gkiht3f6dvf77dt2snzzol4f6i Home > Jacques E. C. Hymans > USC Dana and David Dornsife College of Letters, Arts and Sciences Home Bio Academic Writings Opinion Course Information Contact Info and Useful Links Associate Professor, School of International Relations University of Southern California Jacques E. Jacques E. C. Hymans C. Hymans USC School of International Relations 3518 Trousdale Parkway, VKC 330, Los Angeles, CA 90089 USA Phone: (213) 740 8837 Email: hymans@usc.edu work_glgzrbza2fgnxg7j7wpxpqieum It reveals that FitzGerald''s new style of painting, as seen in The FitzGerald Study Centre, Winnipeg School of Art, book, with respect to the study of FitzGerald''s work, is the section on colour Development of an Artist, Exhibition Catalogue (The Winnipeg Art Gallery: Like the French Impressionists, FitzGerald probably painted this work out-of-doors FitzGerald''s technique of painting in these works is certainly that of French FitzGerald''s study at the Art Students'' League influenced his later style. These works which FitzGerald executed upon his return from New York, which sections of the canvas were left unpainted, FitzGerald''s new style of painting trip in the interests of the Winnipeg School of Art. FitzGerald kept a diary while an art instructor at the Winnipeg School of Art, FitzGerald "painted apples for L. LeMoine FitzGerald Exhibition (University of Manitoba, School of Art, of FitzGerald''s paintings, there is very little recession of space in this work, work_gtdysu3cofhs5e2mhztywvtw2a theories, such as Biederman''s recognition-bycomponents model8, claim that objects are recognized Traditional theories of object recognition have emphasized the role of shape color of an object affects its recognition. Color diagnosticity in object and scene recognition objects with high color-diagnosticity and little effect high-and low-color-diagnostic objects were matched objects and scenes in terms of both color and shape? Objects represented by color and shape might show a Perception and knowledge of object color in the brain Above perception, the knowledge of object color activated by the object-color association task. object color knowledge are separable from those unnaturally colored objects activated visual areas Neuropsychology of object color knowledge knowledge of object color. Thus, his verbal knowledge of object color visual modality, he demonstrated intact object color The Shape ++ Surface model of object recognition the recognition of high color-diagnostic objects and visual representations of object color. retrieval of object-color knowledge with work_h4s4fa6jbvhlfhrv4jbluxadmy Tchalenko J, Nam S-H, Moshe & Miall RC (2014) The Gaze-Shift Strategy in Drawing drawing of graded zones as lines, where original and picture were placed side by side on a original divided by gaze duration on picture) were approximately equal to drawing ratios with the hand often starting to draw a given segment while the eye was still on the original, or We define three key measures of the eye-hand interaction during drawing: the gaze shift study by Glazek (2012) comparing expert and novice artists copying familiar and novel linedrawing pictures, provides gaze durations on the original and total drawing durations, but This means that the proportion of time spent drawing when gaze is on the original blind ratios for copying (squares), contouring (triangles) and graded zone drawing tasks ratio, the proportion of time spent drawing while the gaze was on the original vs the picture. work_ha6pihe6zvaojke4u7uhjsdlde Many studies [1–4] applied image processing to feature extraction for painter and art movements painters of this group represent the baroque movement while the remaining six represent the modern art period. After feature selection, a centroid for each group of paintings is calculated which defines a prototype: a representative A group of 12 well-known painters is selected to represent artistic styles or movements from baroque to modernism. To create a painting space a number of distinct features extracted by computational methods from raw images of the A summary of all steps from image processing through feature extraction through time-series and measurements calculation (skewness, opposition µ of number of segments have the higher α and are selected to opposition, skewness and dialectics analysis—both features Projected painting space considering the best pair of features: µ of curvature peaks and µ of number of segments. work_haiefteiizbx7f223nydwwjsjm Emanuel and Matisse: Two Distinct Perspectives on Aging Although Emanuel may feel that he would prefer to live until age 75, most people do for most, the achievements in which Emanuel references in his own life''s journey are few and far between. Emanuel''s perspective on aging is also troubling because life can and should be fulfilling at every stage. However, after learning about the life and art of Henri Matisse I found a different In Matisse''s later life it''s easy to see that not all is right with Emanuel''s stance. Henri Matisse is considered by many art critics as one of the greatest visual artists of his generation. He was an innovator, most famous for the "cut-outs" he created later in life that highlighted the array and The exhibition Henri Matisse: The Cut-Outs, which ran at the Modern Museum of Modern Art from ANEKWE, EMANUEL AND MATISSE, VOICES IN BIOETHICS, VOL. ANEKWE, EMANUEL AND MATISSE, VOICES IN BIOETHICS, VOL. work_hbyhfwmqn5ctrkhl7avdcfwule abstraction use visual elements from art history, popular culture, product design, the in which contemporary artists use existing abstract forms to make new works. contemporary abstract painting makes meaning through the use of shapes that recall with and incorporate architectural shapes from the built environment and screenbased images using software in new paintings and large-scale murals. As abstract-painted shapes were translated in Modernism by the artists and designers Today, many contemporary artists paint abstract shapes and respond to the visual methodology of translation, contemporary abstraction can use painted shapes in a Translating flat abstract shapes from art history is not limited to mural painting but Some artists visually rhyme abstract shapes in their work with existing forms, To do this, abstract painting must translate visual images in a third way. Artists identify and adopt abstract shapes from art history and visual culture for use in Contemporary abstract painting engages with visual culture, technology, and art work_hfaw5fqpm5g47bukyrgehi23oq thread counting relies upon the topography of the twodimensional Fourier transform of the X-radiograph. This paper establishes that the two-dimensional Fourier transform, spectral-maximum-based extraction of thread density appears suited to automatic thread counting from scanned X-radiographs of paintings for a range of European painters from the suggest that recently developed spectral-maximum-based thread counting algorithms are sufficiently sophisticated to support major used by some artists require a more refined approach to automated thread counting than a simple spectral-maximum-based scheme. X-radiographs of paintings on ''plain'' weave canvas. Figure 2 Van Gogh dominance threshold percentages: passing spot counts) from van gogh paintings in Figure 2, spectral-maximum-based automated thread counting: x-radiographs oF paintings on canVas 113 spectral-maximum-based automated thread counting: x-radiographs oF paintings on canVas 113 spectral-maximum-based automated thread counting: x-radiographs oF paintings on canVas 113 spectral-maximum-based automated thread counting: x-radiographs oF paintings on canVas 113 spectral-maximum-based automated thread counting: x-radiographs oF paintings on canVas 113 work_hhmgq7d6erdfxp6yp57yemznby Life on the ground floor: letters from the edge of emergency medicine | Semantic Scholar Skip to search formSkip to main content> Semantic Scholar''s Logo Search Corpus ID: 45108448Life on the ground floor: letters from the edge of emergency medicine title={Life on the ground floor: letters from the edge of emergency medicine}, author={Nicole E. Nicole E. Each chapter has helpful summaries at the end which make the booklet a very effective teaching aid. Share This Paper Topics from this paper emergency medicine (field) Related Papers Related Papers Stay Connected With Semantic Scholar About Semantic Scholar Semantic Scholar is a free, AI-powered research tool for scientific literature, based at the Allen Institute for AI. Proudly built by AI2 with the help of our Collaborators By clicking accept or continuing to use the site, you agree to the terms outlined in our Privacy Policy, Terms of Service, and Dataset License ACCEPT & CONTINUE work_hmeboxeqj5a7da3fd6mufvwxsu Anneka Lenssen, Adham Ismaʿil''s Arabesque: The Making of Radical Arab Painting in Syria . Adham Ismaʿil''s Arabesque: The Making of Radical Arab Painting in Syria Adham Ismaʿil''s Arabesque: The Making of Radical Arab Painting in Syria Adham Ismaʿil''s Arabesque: The Making of Radical Arab Painting in Syria Adham Ismaʿil''s Arabesque: The Making of Radical Arab Painting in Syria Adham Ismaʿil''s Arabesque: The Making of Radical Arab Painting in Syria Adham Ismaʿil''s Arabesque: The Making of Radical Arab Painting in Syria Adham Ismaʿil''s Arabesque: The Making of Radical Arab Painting in Syria Adham Ismaʿil''s Arabesque: The Making of Radical Arab Painting in Syria Adham Ismaʿil''s Arabesque: The Making of Radical Arab Painting in Syria Adham Ismaʿil''s Arabesque: The Making of Radical Arab Painting in Syria Adham Ismaʿil''s Arabesque: The Making of Radical Arab Painting in Syria Adham Ismaʿil''s Arabesque: The Making of Radical Arab Painting in Syria work_i5dlnapo25h7hihycoz2ac46sm Los Angeles non è solamente il Getty Center, che pure, tra le della University of California Los Angeles. Murphy (1916-1994) fu eletto Chancellor dell''UCLA, il sesto della Library of Vinciana) venne donata nel 1961 all''UCLA, che ha provveduto ad implicava una grande crescita qualitativa anche della città che la Figura 2: Veduta del Campus dell''UCLA nel contesto della città di La visione che Franklin Murphy aveva di una biblioteca con il mutamento del nome della collezione in "AhmansonMurphy Collection of Early Italian Printing (1465-1600)", numerica delle aldine anche le edizioni non possedute dall''UCLA, alla costruzione della collezione californiana, che dalla fiducia di Murphy, le aldine e in generale i libri del Rinascimento non oggetti librari (The UCLA Ahmanson-Murphy Aldine Collection, Non solo la biblioteca conserva una delle più stagione della cultura americana che vide nel Rinascimento della California a Los Angeles è uno dei numerosi gioielli che La collezione Ahmanson-Murphy all''University of California Los Angeles work_i5yios5iijd2rgg76z2hy5b3d4 category of authentic primitive art, the Asmat of West Papua. of Michael Rockefeller''s Asmat collection in the Museum of Primitive Art of the Asmat Museum in the visionary theme park of Taman Mini "Indonesia Nation," in Asmat Art: Woodcarvings of Southwest New Guinea, ed. they wanted their work to sell." Stanley, The Making of Asmat Art, 110. government-owned art shop that once traded contemporary Asmat artefacts primitiveness in Asmat art, woodcarvers have usually referred to it in terms A further hallmark in reference to Asmat authentic art is the material not allowed!"40 Wood is, indeed, part of the process of making Asmat art Asmat art in the hyperreality of Taman Mini that authentic Asmat art can hardly be bought in Jakarta, while such of different styles, might seem to go against authentic primitive art, this is stigmatisation, which challenge and endanger Asmat authentic primitive art. work_i6wyhdtt2rfztm27clqz7t7uc4 디즈니 애니메이션에 나타난 모더니즘 회화스타일 Ⅲ. 초기 디즈니 애니메이션의 모더니즘 성격 디즈니 애니메이션 역시 상업적인 작품을 제작하면서 초기작품의 실험적 형태, 움직임의 먼저 간단한 도형의 형태로 단순화된 모더니즘 회화의 특성은 캐릭터 디자인에 차용되고, 색 는 배경의 다중시점은 다양한 각도에서 대상의 본질을 표현하려한 모더니즘 회화를 연상시키기에 충 주제어 : 애니메이션, 디즈니, 모더니즘, 리얼리티, 회화 1) Steven Watts, Walt Disney: Art and Politics in the American Century, The 메이션은 모더니즘 예술의 실험적 장르로 출발한 이래, 여전히 초기 디즈니 애니메이션의 특성을 살펴보고 그러한 애니메이션이 초기 디즈니 애니메이션의 모더니즘적 성격 디즈니 애니메이션에서 모더니즘적 회화성향은 다양한 형태에 색으로 음악과 같은 리듬을 만들어내는 것이 디즈니 애니메이션 dwarfs)(1937)의 성공과 함께 디즈니 애니메이션의 비주얼 스타 만, 이미 1930년대에 완성된 디즈니 애니메이션의 비주얼 스타일 트 분석을 통해 여전히 디즈니 애니메이션에 존재하는 모더니즘 특히, 디즈니 애니메이션의 디즈니 애니메이션의 이와 같은 공간재현은 역시 모더니즘 회 초기 디즈니 애니메이션은 많은 평론가들에게 모더니즘 예술의 Modernist painting style in Disney animation work_ihstidltsbaq7l3gajye4rtpna exhibition photographs, released by the Museum of Modern Art2, by retrieving user-selected artworks. selected method of this article: while the first presents past works in art history on the topic of exhibits, Art historians have studied museum and exhibition history and installation3 practices both, to exhibition studies in art history and present work on object retrieval in computer vision. a set of exhibition photographs, released by the Museum of Modern Art in New York. includes an overview of conducted work and shows more results on art data Computer Vision Group, The interface was used to search for de Chirico''s work in the MoMA''s exhibition images; and Graphic Arts from the Museum Collection'' exhibition, which again included de Chirico''s work Similar to the ''Museum Collection'' show in 1940, the exhibition of 1946 showed de Chirico''s work museum''s collection includes an installation photograph, where Balthus'' work is visible (Figure 8); work_ipv2x2evpvabzhici7yzw6ieiq A Study of the Expressions of the Silhouette in the Fashion Illustrations Those expressions in fashion illustrations were categorized to the 5 items; black & white silhouette, color silhoutte, pattern silhouette, paper silhouette, line silhouette. Silhouette expressions of the fashion illustrations were categorized to 3 items: metaphorical fantasy, essential minimization, anonymous representation. Key words: silhouette(실루엣), fashion illustration(패션 일러스트레이션), metaphorical fantasy(은유적 환상), essential minimization(본질적 최소화), anonymous representation(익명적 재현) 의 하나로 실루엣 표현을 언급하거나(Kang & Kim, 2002), 현 의 실루엣(Fig. 1)을 표현했다(Jin, 2005). 앞서 패션 일러스트레이션에 나타난 실루엣 표현을 흑백, 컬 컬러 실루엣(color silhouette) 페이퍼 실루엣(paper silhouette) 실루엣을 표현한 경우와 Fig. 20의 경우와 같이 의상의 실루엣 각의 실루엣 표현을 페이퍼 컷팅 기법으로 표현한 경우 등으로 이러한 실루엣 이미지를 일러스트레이션에 도입한 작품을 살펴 이러한 실루엣 표현은 앞 서 언급한 한 Fig. 34는 라인 실루엣 기법으로 얼굴의 형태가 실루엣으로 지금까지 살펴본 패션 일러스트레이션에 나타난 실루엣 표 패션 일러스트레이션에 나타난 실루엣 표현은 구체적인 이 work_isggktgsl5gw5fxih43evvgpei Steins'' Saturday evening gatherings, nor those covering the Hungarian pupils at the [1] "The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde," a traveling Vilmos Perlrott-Csaba''s painting Female Nude (Rippl-Rónai Múzeum, Kaposvár, Item No.: 55.403), which was painted in Matisse''s studio, was exhibited in both San Francisco and New York. conjunction with her presentation of "The Steins Collect" at The Metropolitan Museum of Art on May Matisse''s favorite pupils and one of the Saturday night evenings'' permanent Hungarian Matisse, a little covered by a partition, was a Hungarian version of the same picture by Hungarian sources, Mikola expresses a profound esteem for Leo Stein''s aesthetic [35] Like other students at Matisse''s school, Perlrott painted a number of studio nudes I met Matisse and Picasso, too, at the Steins'', and I Hungarian arrivals were not under the spell of Matisse, they sought out the Steins work_itk56zzqyneblkmm6sn7eeivie Historical lessons to watch your assumptions about aging: relevance to the role of International Psychogeriatrics but instead reflecting age-associated problems – destiny to a new view of modifiable age-associated The "potential" focus of aging reflected change about aging and is reflected in my book The Creative Age (Cohen, 2000), the first book to focus totally on creativity and aging, published at the start latest knowledge about aging to a new level – and is reflected in the "Creativity and Aging Study" The creativity and aging study and creativity with aging in relation to health art programs on the health and functioning of older health and social functioning of 150 older persons The Creative Age. New York: Avon health, and social functioning of older adults. health, and social functioning of older adults – 2-year Journal of Aging, Humanities and the Arts, 1, 5–22. Aging and health: effects of the sense of work_ivve27nrafcn7fxhjdtn2x35g4 espera que contribuya a levantar el ánimo del cine español, Los abrazos rotos que una de las escenas completas de este filme tome para sí el encuadre pasando por el montaje y la sonorización– dentro del cine, sin duda una de las columnas sobre las que se levanta Los abrazos rotos, sirve al filme, bien para quizás por ello, una de las más hermosas secuencias, aquella en la que —utilizando como otras margen del arte, como si las investigaciones de los videoartistas que filmografía de este autor que aparece la figura del director de cine como un El hecho de que Judit, una de las protagonistas del film, película discurre por las convenciones del cine negro y los personajes perpetran Los abrazos rotos queda por tanto construido como un collage que facilita el En Los abrazos rotos Almodóvar despliega unas formas que quiere convertir en work_j2ad6gu5v5hblfhoou6dlgm4ka Derrida (2003), mas, de certa maneira, carrega a ideia de "gênio não original", de Marjorie Perloff (2013), que em seu livro analisa diversos trabalhos que rasuram a ideia de originalidade por meio de processos próximos aos de Laura Erber, como a Na medida das limitações, o que se pretende aqui é ensaiar um desses "gestos de responso", refletindo sobre os modos como Laura Erber encena um suposto estar-fora da literatura em um livro como Esquilos de Pavlov, estabelecendo sua diferença, ao tratar a crise da literatura – e também das artes – como para a compreensão de práticas artísticas contemporâneas uma formulação como a proposta por Florencia Garramuño (2014), que denomina de formas da Erber, comentando sobre a presença delas, afirma: "Muitas imagens foram geradoras do texto, como se a escrita fosse um modo de criar versões possíveis que exploram a carga ficcional das fotografias"2. work_j52g66khljas5apbqzejujmomm uno de los más grandes, originales e influyentes pintores de la historia del arte. Zola influyó positivamente a Cézanne para que desarrollara sus ante los convencionalismos, al que Cézanne trataba de contraponer una genialidad todavía muy Cézanne el arte no pasaba por copiar la naturaleza sino expresar las emociones que la naturaleza que fue la motivación de los impresionistas, sino A través de variaciones del color objetiva los planos geométricos que él esperaba le en vida más por sus naturalezas muertas que por Las obras de Cézanne, más que Cézanne de 1874, a los 34 años, camino los bodegones de Cézanne Naturaleza muerta con manzana sustitución de la vida misma, a la que Cézanne no Las frutas que pinta Cézanne parecen tener el Los cuadros de árboles que pintó al final de su artística de maestros, no sólo como Cézanne, sino Cézanne desarrolló como complicación una retinopatía diabética con ceguera parcial para colores work_jdm6sgbahngmjeztevuymgkami arquitectura una vez que han alcanzado el impulso, sólo pueden desarrollarse por medio de la Podemos observar una concordancia entre muchos puntos de vista sobre la vida, lo que conducirá a un mejor entendimiento y por tanto no es por medio de una adaptación vigilante del espiritu a las condiciones de la vida moderna. en el panteón del hombre: "Ser libres y que nos humana de una cultura como la que se ha desarrollado en nuestra época. Las fuentes de la actividad humana son profundas y están más secas de lo que nunca antes lo solo como medio para conseguir una meta más La vida no es tacaña más que para los Si los planos y las maquetas que les envié pudieran tener un sentido para ustedes, entonces ése a las diferentes necesidades del hombre que sólo urgente para la arquitectura que la solución del técnicas del momento presente, serán las que nos work_jl3ufvuuwzacbac4s4k4slx7mi converging histories of Manuel Lozada''s life, peasant rebellion, political boundaries, And although Brittsan has mined archives in Guadalajara and Mexico City, along with a few other sources, to recreate the political culture of Lozada and his peasant At the Crossroads: Diego Rivera and His Patrons at MoMA, Rockefeller Center, and the yet another discussion of Diego Rivera and the mural proposed for Rockefeller Center. (MoMA) in New York City, largely a Rockefeller project. the conflictive situation in New York affected Rivera''s art and how it came to be that Street Democracy: Vendors, Violence, and Public Space in Late Twentieth-Century Mexico. García explores the historical experience of the street vendors as they resisted corrupt formed independent unions, like the Popular Union of Street Vendors (UPVA), they Mendiola García''s interviews with street vendors and student organizers offer rare groups, the politics of the union, repression by the government, the neoliberal turn of work_jum53bzee5e4hg6h6rxwidrbvy Soyutlama, Serbest Biçimli Sanat, Kobra, Sert Kenar, Taşizm gibi farklı isimlerle almamış bir soyut dışavurumcu olarak mı kabul etmek gerektiği konusunda kararsızdır. arasında Hunter College''de resim öğretmenliği yapan Baziotes, 1963 yılında vefat etmiştir. Barnett Newman, 1905 yılında Rus Polonyalı bir göçmen olarak New York''ta çiftliğe taşınan sanatçı, 23 Haziran 1980 yılında vefat edene kadar bu çiftlikte sanat yapmaya Doğu ve İslam kaligrafisinden etkilenmiş olan Lirik Soyut''un bir diğer adı 16 Mayıs 1898 yılında Fransa''da doğan sanatçı daha sonra 1909''da annesiyle Yahudi bir aileye mensup olan sanatçı 1930 – 1934 yılları arasında Paris Sorbonne Paris Okulu''nun en özgün sanatçılarından biri olarak kabul edilen Pierre Soulages, kısa bir süre Kelly''nin Soyut Sanat''a yönelişi Paris''te gezdiği bir sergi sırasında gözüne çarpan pencere ve New York Paris arasında gidip gelen sanatçı 1959 yılında kalıcı olarak Fransa''ya taşınmıştır. Renk Alanı Resmi, Lirik Soyutlama, Serbest Biçimli Sanat, Kobra, Sert Kenar ve Soyut work_k2nyanvrtre7hff5oj35ndbnde architects and critics of the period leading up to Ronchamp, considered to be the function of art in architecture and, modalities.7 Modern art, which refers to painting and sculpture, is generally considered to have emerged in the midnineteenth century as a consequence of the availability of new materials and techniques. References to primitive art or architecture in Le Corbusier''s work, and in this thesis, mean folkloric designs concept that Le Corbusier''s art and architecture, as seen at Ronchamp, are actually symbiotic, in that they are Le Corbusier''s vision of organic forms as objects to be integrated into his art and architecture, Le Corbusier subsumed nature as an art form whose integration was essential to the architectural event. see."1 2 1 Like nature, Le Corbusier considered the process of creating a painting, sculpture or architecture to be freedom to design at w i l l and Le Corbusier''s appreciation of the integral nature of art and architecture that appears to work_k4yggdeepjewra4b364sh36qle Prior work on automating collage creation extracts rectangular salient regions and assembles them in various fashions [RBHB06,WSQ∗06,BCG∗07,Pic]. This produces beautiful collages, however, since the extracted regions are rectangular, the variety of possible compositions is limited and For the former we propose an algorithm that extracts nonrectangular regions that coincide with the meaningful information – object boundaries and salient background features Figure 2: Our collage construction framework applied to an image collection describing highlights of the 2008 Olympic games. Given a collection of images, we wish to construct an informative, compact, and visually appealing collage. images, both professional and non-professional, the informative regions consist of both foreground as well as background pixels that provide the context. A set of additional, however optional, parameters such as the desired aspect ratio of the final collage, the amount of allowed overlap, preferences of ROIs (importance weights between 0 and work_k5lw5nq3rvd7bayygaf3wqwigq American painters, including Pollock, Johns, and Warhol, failed to produce individual paintings as famous as the masterpieces of a number of major French artists, such as Picasso, Manet, and Seurat. history in order to identify and rank the painters and paintings considered most important by art modern artists were more likely than their American successors to produce superstar paintings.7 importance of the artists who produced these paintings, by listing the total illustrations of each Perhaps French modern painters produced more famous paintings than the Americans Perhaps French modern painters produced more famous paintings than the Americans group exhibitions in the French nineteenth-century art world influenced many artists'' practices, work to the New York art world was expressed exclusively in terms of the names of individuals, these shows tended to shift the focus of critics from individual paintings to an artist''s recent work American modern artists have not produced paintings as work_k63ywphc5vchjl56fw3pryq6ha [Original� Article] The color characteristics of Cartier''s exotic design Cartier''s exotic designs cover wide range of styles, such study is meaningful in that it analyzes the color characteristics of Cartier''s exotic exotic design(이국적 디자인) 기 초의 이국적 디자인을 자사의 근원적 영감으로 보 초 「까르띠에」의 이국적 디자인이다. 연구 방법은 먼저 「까르띠에」 및 이국적 디자인, 이 청색, 백색, 흑색이 20세기 초 「까르띠에」의 이국적 Colors of exotic design in the early 20th century
Colors of exotic design in the early 20th century 코트와 같은 이국적 디자인을 발표하였다(Yang & 화된 이국적 디자인을 발표하면서 디자인 미학을 확 화권으로 기준을 중국과 일본 스타일, 페르시아와 인 http://www.cartier.com
Styles and cases of exotic design in Cartier 20세기 초 「까르띠에」의 이국적 디자인 248점을 계, 페르시아와 인도 스타일은 녹색계, 이집트 스타일 「까르띠에」 또한 다양한 이국적 디자인을 발표하였 다. 중국과 일본 스타일은 적색계와 녹색계 배색이 다. 중국과 일본 스타일은 적색계와 녹색계 배색이 work_kbtwahs5nvguvnprpzlsfkwt3q sys_1000 wp-p1m-39.ebi.ac.uk wp-p1m-39.ebi.ac.uk exception exception Params is empty Params is empty Params is empty if (typeof jQuery === "undefined") document.write(''[script type="text/javascript" src="/corehtml/pmc/jig/1.14.8/js/jig.min.js"][/script]''.replace(/\[/g,String.fromCharCode(60)).replace(/\]/g,String.fromCharCode(62))); // // // window.name="mainwindow"; .pmc-wm {background:transparent repeat-y top left;background-image:url(/corehtml/pmc/pmcgifs/wm-nobrand.png);background-size: auto, contain} .print-view{display:block} Page not available Reason: The web page address (URL) that you used may be incorrect. Message ID: 220030551 (wp-p1m-39.ebi.ac.uk) Time: 2021/04/06 02:46:15 If you need further help, please send an email to PMC. Include the information from the box above in your message. Otherwise, click on one of the following links to continue using PMC: Search the complete PMC archive. Browse the contents of a specific journal in PMC. Find a specific article by its citation (journal, date, volume, first page, author or article title). http://europepmc.org/abstract/MED/ work_kd77dpwpbne7hayre7br7ssj74 major Indian art auctioneer, we estimate via hedonic regression a price index for paintings the state of the Indian stock market and art auction prices. results to construct a ranking of Indian painters in terms of the market prices for their work. the average price of an Indian art painting at auction increased from $6000 to $44,000 (Khaire and We use price data on paintings auctioned by Saffronart during 2000-2013 to document the trend Our paper represents the first rigorous analysis of price trends in the Indian art market, as and contemporary painters, although the work of both groups is termed modern Indian art. the estimated artist fixed effect coefficients are used to rank Indian painters in terms of the prices Our dataset consists of paintings and drawings by Indian artists that were sold at auctions conducted by Saffronart during 2000-2013. We are interested in understanding the trend in the prices for Indian paintings sold at auction work_krubkes2qfhdrbwrjopvnzcnby Current approaches to aberration-correcting display use multilayer prefiltering (center) or light field displays (center right). Existing light field-based solutions offer high contrast but require a very high angular sampling density, which significantly reduces image resolution. of light field display optics and computational prefiltering (right), which achieves high image resolution and contrast simultaneously. [2012] proposed to use light field displays to enable the display to correct the observer''s visual aberrations. high-resolution approach, combining prefiltering and these particular optical setups significantly reduces the resulting image contrast. light field for an example scene is shown in (a), its simulated projection on the retina in (c), and an image observed on a conventional Increasing the angular resolution of the light field passing through the observer''s pupil significantly decreases the condition number of the projection matrix for The proposed method combines prefiltering and light field display to optimize image contrast and sharpness (right column). work_kuaoa5c4sfctlhk7bmh43nbq6i Quantitative Analysis of Culture Using Millions of Digitized Books focusing on linguistic and cultural phenomena that were reflected in the English language between as changes in the lexicon and grammar, and cultural phenomena, such as how we remember people and events. the frequency of the words listed in leading dictionaries (7) (fig. Not all common 1-grams are English words. Using this technique, we estimated the number of words in the English lexicon as 544,000 in (10); the American Heritage Dictionary of the English Language, Fourth Edition (AHD4) lists Quantitative Social Sciences, Harvard University, Cambridge, (C) Usage frequency over time for "the Great War" (blue), "World War I" (green), and "World War II" (red). Inset: Median frequency of new words added to AHD4 in 2000. time of the subsequent rise to fame (4 years, blue line); (iii) age of peak celebrity English and in German books (Fig. 4A). S. Algeo, Fifty Years among the New Words: work_kwy3ddpkmzgm3o5hntjpcwj3me • Nature–human dichotomies and ways of designing nature, presenting and thus Left: Die cut for Interval 09: life is an act of consumption, jupiter (working title). thing to allow humans to separate from the rest of the natural world (our control Each design presents a locked-in-step shifting relationship with the natural world visFigure 08: Left: Die cut for Interval 09: life is an act of consumption, jupiter (working title). Figure 09: Die cut for Interval 15: these will never be banana leaves (working title) showing original pattern around the work I refer to the pattern as banana leaves because those were a popular motif at the time to which this design adheres. Right: Audience members light up Interval 20: the world does not die with us (working title). the wallpaper-derived Familiar Strangers, look at the way the nature-human divide work_kxdk6f5targsxjynlgc2vf3dl4 Putting reward in art: A tentative prediction error account of visual art | Semantic Scholar Corpus ID: 7780019Putting reward in art: A tentative prediction error account of visual art title={Putting reward in art: A tentative prediction error account of visual art}, Sort by Most Influenced Papers The predictive mind and the experience of visual art work View 4 excerpts, cites background and results View 4 excerpts, cites background View 4 excerpts, cites background View 4 excerpts, cites background View 4 excerpts, cites background View 4 excerpts, cites background Predictive coding: Neuroscience and art. View 2 excerpts, references results and background Perception, memory and aesthetics of indeterminate art The science of art: A neurological theory of aesthetic experience A model of art perception, evaluation and emotion in transformative aesthetic experience View 3 excerpts, references background View 3 excerpts, references background View 3 excerpts, references background View 1 excerpt, references results work_l6ssnchitneonfnevyfbhqirb4 Europe and unlearn its cultural perspective and politics in order to learn from The cultural self-conception at the origin of documenta is closely linked his plans for a major international art exhibition, known today as the first documenta. documenta 14 as a nationally and culturally shared process of working and 111 Szymczyk, "documenta 14: Learning from Athens," 241. 111 Szymczyk, "documenta 14: Learning from Athens," 241. 111 Szymczyk, "documenta 14: Learning from Athens," 241. 111 Szymczyk, "documenta 14: Learning from Athens," 241. 111 Szymczyk, "documenta 14: Learning from Athens," 241. 111 Szymczyk, "documenta 14: Learning from Athens," 241. 111 Szymczyk, "documenta 14: Learning from Athens," 241. 111 Szymczyk, "documenta 14: Learning from Athens," 241. 111 Szymczyk, "documenta 14: Learning from Athens," 241. 111 Szymczyk, "documenta 14: Learning from Athens," 241. 111 Szymczyk, "documenta 14: Learning from Athens," 241. 111 Szymczyk, "documenta 14: Learning from Athens," 241. 111 Szymczyk, "documenta 14: Learning from Athens," 241. work_li7f6zj7bfdnpkeofl3b3z7ufe American" ballet score from Chicago composer John Alden Carpenter (1876-1951), which premiered by the Metropolitan Opera Company in New York City as Skyscrapers: A Ballet of composers who wrote music for the Ballets Russes also remember Diaghilev and their activities In a footnote in Diaghilev and the Ballets Russes, Garafola briefly uses Carpenter''s commission source; however my work on Skyscrapers and Carpenter''s associations with the Ballets Russes Chapter 2 ("Diaghilev''s American ''Episode:'' John Alden Carpenter and Skyscrapers") Chapter 2 ("Diaghilev''s American ''Episode:'' John Alden Carpenter and Skyscrapers") In Chapter 3 ("America at Work and Play: Skyscrapers and Jazz") I discuss the ballet Lynn Garafola, Diaghilev''s Ballets Russes (New York: Oxford University Press, 1989), 213. Lynn Garafola, Diaghilev''s Ballets Russes (New York: Oxford University Press, 1989), 213. John Alden Carpenter, Skyscrapers: A Ballet of Modern American Life (New York: G. incorporating the skyscraper, jazz/ragtime, spirituals and American popular music in his ballet, work_lj6a2uvk2vbzlbnpx5wtdgac3i written-drawn landscape painting that moves between the manual and the mechanical. of works of art, I shall examine the field of painting through an artistic inquiry that The landscape that appears in the painting is a writing 7 Copyright for all works of art and photographs in this article is held by Yehudit Sasportas. offers the key to reading our images, then Sasportas''s writing is a dangerous act of returns the concept of truth to the painted work of art. The writing, drawing and painting hand give [15] This loss is alluded to in those works of Sasportas that push the field of painting to the painting''s field and the world of art. In her video work Sasportas leads the written-drawn painting into the reference, Sasportas leads it to the drawn painting; the video shows the landscape [25] Sasportas''s video works map and present monochromatic condensed paintings. erasure.26 Sasportas''s painting, as mechanical-hand writing, produces a sense of work_ly4mhuowlvgwpmmkbxcca662nq the lack of enabling conditions that would have allowed them to do SOl. This study provides a brief survey of anti-apartheid cartooning in South Africa in the narrative strip production (comics) and political cartooning or caricature are generally An excellent example of iconic codification in South African political cartooning is the figure of the 1991 cartoon by South African cartoonist Dov Fedler45 shows two black-robed and frequent appearances in cartoons by Fedler, Zapiro and other South African cartoonists. The portrayal of black South Africans in cartoons and comic strips by white artists popular black South African cartoon character of the 20th century. will frequently be observed in the analysis of South African cartoons and comics South African cartoon or comic strip has ever done, and probably cut as deeply as any 1. Cartoons, comic strips, illustrations and art works cited "Zapiro and South African Political Cartooning". work_lzapa7ym3rac3gium7fbirfhcm humanity''s relationship to nature, specifically botany, through a visual arts practice. By observing the urban environment as a habitat to living, non-human entities, and how can creative works explore issues of the wider natural environment? ''natural environment'' of contemporary urban life, the exegesis argues for an natural and human causes", such as gardens, topiary, and some environmental art, naturalness to plants and botanical urban settings, my project uses botany as a 91 Michael Pollan, The Botany of Desire: A Plant''s-Eye View of the World (New York: Random House, way that contemporary artists engage with the natural environment and the materials Pfaff''s fascination with flora as a subject was evident in the mixed-media twodimensional works containing botanical references, and the presence of plant matter photographic source material of plants in the Brisbane Botanical Gardens. The way that plants reside in the urban environment can materials to work with the ideas generated from my new environment. work_m3gj3nmpcbdq3nq4xlvpdwlgeu In researching art programs in prisons, I intended to concentrate on one aspect in of visual art education on prisoner/students'' perception of time, paying particular attention c) Ability to ''suspend'' time, by engaging with visual art, ''leaving prison'' for portions of While research on prison arts programs indicates real and measurable benefits, Staff and inmates alike welcomed the break in routine offered by arts activities, inmate-participants and with other art instructors who had experience working in incarceral structure of a leisure-time prison art program is indeed suspect: a more sensitive they felt about time, art and leisure activities in prison. * Don''t offer the art course during inmates'' free time. Other researchers, teachers and art therapists working in prisons have described the Other arts instructors in prisons have noted similar instances of an inmate inmates I interviewed, of successful art/s interventions in prisons. Prison Arts Foundation, and Paul and Frank, the two inmates who submitted to taped work_mba6cdcvofaxpj263in73kem3a Man Through His Art: Music (London: E. ltenaissance painters in Italy he employed musical consonances as a means of unifying and rationalizing the arts. poets tried to express the "music" they felt thin themselves, and in return composers wrote "landscape" symphonies and tried to draw their music closer tp painting analogous to music--an art of colour composition addressing Like music, colour was subject to 11 fixed 11 --though different Like music, it acts on the soul through the intermediary of the senses, the harmonious tones corresponding to the harmonies of sounds, but in painting1 proposed to unite the arts of painting, music and the dance~ After the publication of the Art of Noises Russolo neglected painting until 1942, concentrating, rather, on developing an intricate form of musical composition which foreshadowed the more extreme experiments made before and painting music in colour compositions which he conceived as work_mk2gagjjbrb3vpvkpjwglc6rve algunos autores tales como Ricardo Richon-Brunet, Antonio Romera y Jean Emar, vinculando sus discursos teóricos con aquellos momentos y contenidos más importantes siglo XX: el primero, que calificaremos como de orientación e información inicial, a través de crónicas escritas, entre otros, por Ricardo Richon Brunet, nathanael yáñez Silva, más algunas figuras provenientes del En los años iniciales del siglo XX la contribución teórica más importante fue el Diccionario biográfico de pintores4, de Pedro Lira (1902). ámbito literario, entre ellos Manuel Magallanes Moure7, Pedro Prado8, álvaro yáñez Bianchi (Jean Emar)9, Augusto D''Halmar10, Vicente Huidobro y, introductor y fundador del arte de la pintura en Chile, en tanto que a Pedro El modelo europeo clasicista fue el paradigma que impregnó el escenario de las artes visuales en el país en los inicios de la pasada centuria. primera muestra que destaca, en los inicios del siglo XX, fue la Exposición work_mllav53zafeppdfdqksfpeuqmm Accessible Visual Artworks for Blind and Visually Impaired People: Comparing a Multimodal Approach with Tactile Graphics Abstract: Despite the use of tactile graphics and audio guides, blind and visually impaired people still prototype that uses audio and tactile modalities to improve the autonomous access to information participants evaluated and compared multimodal and tactile graphic accessible exhibits. of an interactive multimodal guide for blind and visually impaired people that uses localized on-demand audio descriptions and tactile relief models to improve the independent Motivated by these challenges, our objective was to develop an interactive multimodal guide and study its feasibility to improve accessible art representation In the last decades, researchers have explored the improvement of tactile graphics accessibility by adding interactivity through diverse technologies. Some of the participants in the formative study mentioned the shortage in the availability of tactile graphics or other accessibility tools in their visits to art museums and work_mo2mvasy5bd3pdmg6o4gqk726q IN THE FIFTH ZONE: ABSTRACT PAINTING, MODERNISM, AND CULTURAL DISCOURSE In June 1946 a major exhibition of modern German art Jane de Hart Mathews, "Art and P o l i t i c s in Cold War America," American Historical Review 81 (Oct. 1976):762-787, and Serge Guilbaut, How New York Stole ^Werner Haftmann, German Art of the Twentieth Century (New York: The this mind-set should represent Germany in the capital city of modern art, and he Berlin as a once again credible art centre to West Germany, to Paris, and to New exibitions of modern American art in Germany were sponsored not by the US Germany, "contemporary" art exhibitions in the style of the Berliner Kflnstler Abstract painting as practiced by German artists like Baumeister, Nay, European history, art, and culture. Expressions; New Art from Germany. "Modernism Restored: West German Painting in the 1950s." work_n3t7oh2ndjb2lkgbyhiw4iaaqi Keywords: Abstraction, Affect, Attribution, Computing, Design, Emotion, Expression, Interaction, affective expressions can be designed with minimal reference to the human body. the proposed approach lies in the fact that it is based on mental processes involved in the recognition of affect, independent of the configuration of the human body and face. on the role of abstraction in perception, (b) the elementary processes and features relevant to visual emotion that shows the feasibility of combining affective features independently of the human configuration by using body of experimental research exists on emotion attribution to simple abstract geometrical by bringing together the science behind abstract art and research on affect attribution to study the exact affective associations humans have with abstract features, but also of essential affective features in visual emotion Effects of essential affective movement features on emotion attribution Effects of essential affective form features on emotion attribution of essential affective form features on emotion work_n5qsfhdyrrhsbexrn7ha2sxixu Time-Resolved Photoluminescence Microscopy for the Analysis of Semiconductor-Based Paint Layers use of zinc white (ZnO) as the main pigment employed in the two painted layers on the basis of the use of zinc white (ZnO) as the main pigment employed in the two painted layers on the basis of the emission decay kinetics in the two layers of the sample (Figure S7 in Supplementary Materials). Analysis of the microsecond emission decay kinetics of sample 2105 in the spectral band Analysis of the microsecond emission decay kinetics of sample 2105 in the spectral band Analysis of the microsecond emission decay kinetics of sample 2105 in the spectral band Analysis of the nanosecond emission decay kinetics of sample 2107 in the spectral band Analysis of the nanosecond emission decay kinetics of sample 2107 in the spectral band Analysis of the nanosecond emission decay kinetics of sample 2107 in the spectral band work_nco3rqchcndw3hdgkydiuyetqq Driskell Center for the Study of Visual Arts in major collections of art museums in the United States and throughout the world. the exhibition Successions: Prints by African American Artists from the Collection of Jean and DRISKELL: I actually began to collect art when I was a student at Howard University. DRISKELL: I went to Howard in 1949-1950 as a history major, and a year and a half later I legitimate course in Negro art at that time because it was only taught at Howard. In 1966, I left Howard to go to Fisk University, where I immediately put Professor Porter''s course in the curriculum and I taught it. NICHOLAS: Would you say that, at Howard University, you were trained to collect art? I started concentrating on African American art, and I collected people like Bannister. NICHOLAS: Were you able to collect any art while you were in Europe? DRISKELL: I like all kinds of art, and I collect all kinds. work_neg7q52odffhjeafdnhykarjbu theory inform my perception of still life objects, as well as the vitality and agency of the painting I consider the nostalgia for painting''s history to be one causal factor of "zombie-formalism", a term presented by art critic Walter 2 painted forms in We''d Like To Help bring into question this distinction between object and thing, life painting functions beyond the depiction of objects: how colour, line and surface of each In my painting Floor Life (Painters'' Forms) (see fig. Guston''s painted forms are readily nameable as he presents his objects as solidly as possible, to and Bennett describe when looking at objects, I believe painting from observation exposes the evolving relationship is formed between the objects, the space of the studio, the physical painting this practice of painting things, observation has become a expanded component of my working To tie together intersecting theories of still life, object-hood, and observational painting, I work_nezhe4c6jjf55fitl5myezzkty Gertrude Stein, Pétain, and the Politics of Translation Gertrude Stein, Pétain, and the Politics of Translation Her decision to remain in france during World War ii and translate speeches of translating Pétain''s new year speech of 1941 when, according to during the war and the fluctuation of her views, stein''s translation of The same is true of her translational disobedience and her "steining" of Pétain''s speeches. sTein''s "oWn inTeresT" in THe PéTain TranslaTions near the end of Wars I Have Seen, when the americans have liberated france, stein notes the differences between british english and ("gertrude stein''s Translations of speeches by Philippe Pétain," Jacket 2 [6 May 2013], http://jacket2.org/article/gertrude-steins-translations-speeches-philippe-petain). had helped stein translate her introduction to Pétain''s speeches into french. in Translation about eggs and butter'': gertrude stein''s World War ii" in Women of gertrude stein: War and Writing," Modernism/modernity 8.3 (2001): 405–28; and work_ni7xxyjxczg7riydjuyqkfa464 the construction of the field of Islamic art history within the larger discipline of writings on the history of Islamic art concerns the creation of ʿAbbasid Baghdad by approach of Islamic art historians to their own field were addressed by the present author in a lecture field, and for the very rewriting of the history of Islamic art, would seem essential. field of art history stems from the complexity of the term ''Islamic''. 17 Oleg Grabar, The Formation of Islamic Art, New Haven and London: Yale University Press, 1973, 1-18; the Sultan: The Arts of Giving at the Islamic Courts, New Haven: Yale University Press, 2011. discuss the history of the thesis of unity in Islamic art? This means that the whole field of Islamic art history is now deconstructed, as if in a claiming modernity as a Western phenomenon, art histories have defined Islamic art work_nlh4f6mtb5dd5as7e2aloruwnq Elaine began painting bulls and bison when she relocated from New York City to In her 1950 piece for Art News, "Albers Paints a Picture," Elaine writes: Like Elaine''s work, his figure is painted with some regal yellows and golds but has collective nature of the male figures (sports paintings) are common in Elaine''s of course, not completely abstract as Pollock''s or Krasner''s works, Elaine''s painting abstract, gestural style and a masculine subject matter, Elaine''s sports paintings can Elaine''s series of sports related works, like her portrait painting, color.55 The heroism in Elaine''s work is in the painting technique itself – the In 1950 Elaine wrote her article, "Albers Paints a Picture" for Art News after 62 Lawrence Campbell, "Elaine de Kooning paints a picture," Art News 62 Lawrence Campbell, "Elaine de Kooning paints a picture," Art News "Elaine de Kooning paints a picture," Art News (December "Elaine de Kooning: The Bacchus Paintings." Arts Magazine work_npqenegou5ejphlebsmz7lmupm d''Arte Moderna) provided me with images of the rarely-seen artworks exhibited in the Mostra, Yet four rooms showed works by European artists who had exhibited in the Biennale, alla Biennale, e divennero parte delle collezioni della galleria d''Arte Moderna di Roma e La Mostra rifl ette sull''evoluzione dell''arte moderna e della Biennale tra il 1895 of important art shows in Italy – the Venice Biennale opened only in 1895 – contemporary Italian art, so the Venice Biennale could devote itself to showing GNAM, Giuseppe Volpi di Misurata to Antonio Maraini [Segretario Generale della Biennale], works on view in this room, however, had been fi rst exhibited in the Biennale city since they were fi rst shown in the Biennale, the "Mostra dei Quarant''anni" artists who had exhibited in the Biennale were not included in the "Mostra" Map of the "Omaggio all''Arte Straniera", Mostra dei Quarant''anni della Biennale work_nqm6w62vsvhozcvq7rnz3xps7u method for the extraction of stroke contours in line drawings, relying on a filtering of the level lines of images. geometric features, including the distribution of curvature, endpoints, junctions and corners of strokes. proposed method is illustrated with several experiments on two classified databases of artistic line-drawings, and compared —We present an approach to detect closed contours using a level lines selection method. Onkarappa and Guru [2007] studied the spatial mutual arrangement of strokes in line-drawing images The set of meaningful level lines from the same drawing as on Figure 2 (left) and a detailed window (right). In this section, we propose to group the maximal meaningful level lines selected by the preceding filtering algorithm that correspond to the same stroke cluster. A stroke cluster is described by a coalescence set of one negative level line (the surrounding contour) presents two classified databases of line-drawings, which are used in Section 4.6 to evaluate the proposed analysis method. work_nryvamrfrzck5kle6kzqer5yq4 Ikaros in the Sky. Cutout colored paper in 1943 by Henri Matisse. picture of Ikaros in the Sky (Fig. 1). We all know the story of Daidalos, the doyen of the Athenian craftsmanship, and his son Ikaros, who were kept captive on Kreta by the king warned his son not to fly too high getting too close to the sun; otherwise, the sun''s heat would melt the wax, loosen the feathers and French painter Henri Matisse just captured this very moment of Ikaros Ikaros has his heart on the right spot, which is This reveals another ambiguity in Matisse''s cutout; are we 0167-4889/$ – see front matter © 2013 Published by Elsevier B.V. http://dx.doi.org/10.1016/j.bbamcr.2013.01.003 http://www.sciencedirect.com/science/journal/01674889 It works by compressing the information into a digitized form, which the listener will translate back into Ambiguity in the heart, art and science by Marcus C. Ambiguity in the heart, art and science by Marcus C. Ambiguity in the heart, art and science by Marcus C. work_nwglxm3qozcyjaji4a2erto3tq consciousness led by Francisco Varela claims the need to use first-person data, subjective-experiential autobiographical memory, artistic creation, first-person analysis, neurophenomenology Can the study of a single subject by means of a first-person analysis be considered from a scientific Can the study of a single subject by means of a first-person analysis be considered from a scientific We proposed a new approach of first-person analysis to the artwork through a systematic step-wise analysis of specific childhood memories that are considered essential to the work or the artist''s life; 2) memories of dreams, analysis of certain dreams that are related to the work or that the artist recognizes perspective of the artist\subject through introspection (first-person analysis); and reciprocally, on how a method of first-person or introspective analysis of artistic creation in the context of neurosesthetics by other artists and the scientific study of neural correlates of art creation based in such first-person work_o25d35eu3jhvtmxkmdid5hqb7e History of art and cultural geography | Semantic Scholar History of art and cultural geography}, History of art and cultural geography}, The article advocates an articulation of cultural geography and art history, and in this perspective focuses on the analysis of the primitivist movement and particularly on Gauguin''s work and personal itinerary. Primitivism introduced artefacts of ''primitive'' people into the history of Western art and signalled a change in the relationship between the West and the ''Other'' and ''Elsewhere''. Sort by Most Influenced Papers View 1 excerpt, cites background View 1 excerpt, cites background View 1 excerpt, cites background View 1 excerpt, cites background Painting, Art History, and Geography L''intimité domestique : La fonction de l''espace dans les tableaux de Vermeer View 1 excerpt, references background View 1 excerpt, references background View 1 excerpt, references background La fonction de l '' espace dans les tableaux de Vermeer , Géographie et cultures work_o6jhzbypjjdfph2ovtzjkyy2yi 5Henri Bouchot, "L''exposition des primitifs frangais: Avant-propos," Gazette des beaux-arts Series 3,31, of the claims of a 1902 Belgian exhibition, the Exposition des Primitifs flamands, and posits the Paris been unable to locate the original Weale catalogue, Exposition des Primitifs flamand et de I''art ancien Jean Guiffrey ("L''Exposition des Primitifs Frangais a Paris," Rassegna d''Arte 4, 6 (June 1904): 81) exhibition, the Expositions des Primitifs flamands, in an art historical and nationalistic analysis of Republican art policy, the Exposition des Primitifs frangais can be categorized beaux-arts, Series 3, 31, 562 (April 1904): 264-274; "L''exposition des primitifs frangais [four parts]," Gazette 1 9 1 Paul Durrieu, "L''exposition des primitifs frangais," La revue de I''art ancien et moderne 15 (Mai 1904): Exposition des Primitifs frangais and asserted that all claims to a uniquely French art "L''exposition des primitifs frangais [four parts]." La Revue de I''art "L''Exposition des Primitifs frangais a Paris." Rassegna d''Arte 4, 6 work_ocf7wyvv6fezha5zhan6qimchy ese principio del ―ornamento‖ que está en la base de todos los modos de arte. base de todas las artes (razón por la cual se puede llamar a cada una de ellas un modo, A propósito de este cuadro, Matisse confió un día que ahí fue donde había cuadro, como culminación del arte de pintar, es decorativo en la medida en que es Y este espíritu pide algo del pintor: que interprete la naturaleza, esto Por ejemplo, un conjunto en que las sensaciones del pintor ―estén ya una vitalidad que posee no primeramente en cuanto hombre, sino como pintor. Pero, desde el lado del pintor, este estado es el momento que lo define Por eso es que Matisse puede hablar de un mismo estado de espíritu. Pero ¿por qué recurre Matisse, para hablar de lo que hay de más pictórico en su el pintor Henri Matisse, el conocimiento de que habla. work_ochqinkvardj5hdjofhutpiomm love, for example, is not prominent in Byatt''s fiction, and the religious questions example, that Stephanie Potter Orton in Still Life (one of Byatt''s most important ideas but in things," Byatt attempted a "bare book, my still life" (Passions of the Mind My work on love, for instance, does not present that experience in Byatt''s fiction as metaphor, Antonia Byatt''s birth stories make use of language that she calls, in Passions accidental death.7 Byatt''s attempt to capture this experience in Still Life is Byatt said she believed at the time that "men could have both, work and love, but it When love does work in Byatt''s fiction, place is an important constituent, as it is But for Byatt, attempting to work the power of the visual into fiction, When Byatt uses visual art to delineate the personalities of her characters, the Byatt also loved the fact that Van Gogh needed to write about work_oeovey4y7zbtfhtvvmpdl2nice Profesor de Historia del Arte en Facultad de Ciencias Físicas y Matemáticas de la Universidad de Chile. Y, por último, el año 1947 se funda el Museo de Arte Contemporáneo, corolario de los afanes de modernidad y transferencias culturales reseñadas2. maestros que exiliados o refugiados en provincias, reciben los reconocimientos y homenajes debidos, sus trabajos son difundidos en libros y muestras itinerantes, consolidando definitivamente el arte moderno. testero, es adaptada por los cristianos para sus primeros templos desde el En los años treinta del siglo pasado se decide la Las figuras de los dieciséis profetas que circundan la cúpula de la Basílica Yendo más allá, Lily Garafulic propicia, sin sospecharlo, una fresca poética del espacio urbano y colectivo como soporte de arte, retomada luego Vista de los profetas en la Cúpula de la Basílica de Lourdes, hormigón armado, comuna de Quinta Normal, work_onmsvvzkszb6fahqgfffu3qpty We present in this paper an approach to the analysis of the pictorial content of artistic line-drawings. To this aim, we propose a parameterfree method to detect the hierarchical set of stroke contours. Line-drawings have long been considered as a very important study in artist preliminary works [Kan79, Kle04]. In this paper, we first propose in Section 2 a parameterfree approach to detect closed contours in line-drawings. description of line-drawing is based on the curvature distribution (Section 3.2) and on the detection of several visual circular tool, for each stroke cluster Φ associated with a coalescence set made of n level lines Li, the tool radius RΦ is Figure 3: Left, maximal meaningful level lines from a drawing, and its superposed curvature zero-crossings. To detect stroke endpoints, the set of negative curvature In this paper we introduced a method for the pictorial content analysis of line drawings using the geometrical information of stroke contours. work_oqzkdlv3ejdbrnuky44ywoydjq 벨의 작품들은 애니메이션의 이러한 구조적 특성을 잘 반영하였다. 구조를 체험하게 되는데, 그 주된 장치는 변형과 애니메이션의 운동성을 강화한데 주제어: 변형, 운동성, 시공간, 의식의 흐름, 초현실주의 애니메이션 시공간의 독특한 특성을 연구하기 위해 먼저 19세 다. 따라서 2장에서는 의식의 흐름과 초현실주의 표현장치 그리 성에 적합한 슈비츠게벨의 작품을 분석할 것이다. 그래서 슈비츠게벨 작품의 특성을 요 시공간의 변형과 운동성 등으로 분석하고자 한다. 에서 시공간의 변형, 특히 변형을 통한 의식의 흐름을 연구하고 그리고 추상적 구조, 작품에 등장하는 작가의 손 등 슈비츠게벨 으로써 우리는 애니메이션만이 지니고 있는 독특한 시공간 표현 에서는 슈비츠게벨의 특성으로 시공간의 변형, 운동성 등으로 분 의 이미지들은 끊임없는 변형적인 흐름을 지속하게 되는 것이다. 과 시간을 만들며 일반적 시공간 개념을 부정한 표현적 시공간을 그래서 슈비츠게벨은 이러한 움직임의 운동을 통해 일반적 시간 의 이동을 위해 변형과 끊임없는 움직임을 용이하게 만드는 기폭 그리고 슈비츠게벨의 또 다른 특징 중 하나는 추상적 리듬의 그리고 이러한 추상적 구조는 움직임을 창조하는 애니메이션은 미메시스에서 벗어나 독특한 론적으로 슈비츠게벨 작품들은 표현대상의 변형과 끊임없는 카메 work_ou7qec553rao7haxuvmvqsr7te руских емиграната као добрих познаваоца антиквитета на формирање Збирке икона Секулић. збирка икона Секулић, колекција, руске иконе 5 Радић, Р Георгије Острогорски и српска византологија, у: Руска емиграција у српској култури X X века, Том I, приредили Сибиновић, М., Изложбе руских архитеката у Београду између два светска рата, у: Руска емиграција у српској култури X X века, Том I, приредили Сибиновић, М., Межински, М. Дела руских уметника у београдским приватним колекцијама, у: Руска емиграција у српској култури X X века, Том II, приредили Допринос руских уметника развоју сценографије у Срба, у: Руска емиграција у српској култури X X века, Том II, приредили Сибиновић, М., Межински, М,. Руска емиграција у српској култури X X века, Том I, приредили светска рата, у: Руска емиграција у српској култури X X века, Том Дела руских уметника у београдским приватним колекцијама, у: Руска емиграција у српској култури X X века, Том II, work_ox7suoy5fnejtnuey5pd7una6a subjetivos, como uma ideia ou linguagem das emoções, mais que a questões experimentadas por sua formulação pictural ao longo de uma carreira que que ficará conhecido como sua assinatura, alcançado por volta de 1950 da mais refinada abstração, Rothko reiterava seu desejo de investir suas Mas, em certo sentido, "expressar o mundo" era justamente o que Rothko teria de renunciar. arte aspira à condição da música", também Rothko desejava que suas pinturas Para Rothko, esse pathos era indissociável de uma ressonância da perda, a saber: o desaparecimento da figura e sua É simplesmente como se Rothko e Turner seguissem aquilo que tudo aquilo que uma vez povoou o universo de Rothko – figuras, interiores, parece ter uma interessante correspondência com este outro (Rothko), que Quando, em 1943, Rothko afirmava que "toda arte é o retrato de uma A outra é que as imagens abstratas de Rothko possuem entre si uma work_oxsp7e4o6zgnxejmeq6up2uag4 is het project ''Euralille'', eind jaren tachtig ontworpen door Rem Koolhaas en uitgevoerd in 1995.1 Euralille Metropole schiep een kader voor de verbetering van de terminal Lille-Flandres (met regionale spoorlijnen en TGV-diensten naar Parijs), de Euralille 1 genoemd, omvatte de volgende projecten: de Cité des Affaires (Lille Europe, het TGVen van uitvoering.11 Hoe fungeerde het eerste ontwerp voor Euralille en hoe verliep de follow-up? tot en met september 1988, werd door het stadsbestuur van Lille in handen gelegd van de Société ''In order to be able to formulate the design task properly,'' said Jean-Paul Baietto, the project developer at SEM Euralille, ''the hoofdkenmerk van het ontwerpproces voor Euralille zou worden.19 Koolhaas wilde de verkennende tre Euralille in de Triangle des Gares, werd toegewezen aan Jean Nouvel, en het HSL-station Lille een bruggebouw over het emplacement van station Lille-Flandres. van het Euralille-project (de Maquette van het masterplan van Euralille door OMA, work_p3iurvjwkfcrbl6c3e6hn6v4sm Bevor wir den Körper berühren, bevor wir ihn in Händen halten, haben wir ihn schon gesehen – seine Bilder, die ihn kleiden in tausend Schichten. unbekleidete Frau auf den Kissen und rührt sich nicht. und Modell stellt, ist nicht dazu da, um die beiden auf Nun ist es ja nicht eigentlich Arbeit, die vor dem Frau auf dem Tisch liegt, ist es schon gar nicht selbstverständlich. nach draußen und die Ansicht drinnen versperrt bleiben, wie alle gefährlichen Phantasien in der Gelassenheit des Zeichenstifts aufgehoben scheinen. An dem, was rund ist, zeigt sich der Meister. Malerin und Modell sind nicht die Regel. ist kultureller Herkunft, vermittelt durch eine Bilderproduktion, an der die Malerärztinnen jedenfalls nicht ein bisschen peinlich, und das hat die Geschichte der Sputnik nie zur Serienreife bringen wird und der Atombusen doch nicht als Regelfall zu gelten hat. Breast Care 2006;1:138–139An dem, was rund ist, zeigt sich der Meister 139 work_p56ihlfhjzhkzday6l4kjgt2ca Art in Science: The Artist and The Disease: Renoir persisted in defining through color and brush stroke the Renoir and Henri de Toulouse-Lautrec Renoir and Henri de Toulouse-Lautrec diseases: Pierre-Auguste Renoir and Henri de brothels, where he often painted scenes from middle-class Parisian But another common theme emerges linking both Renoir and ToulouseLautrec beyond their physical disorders: An undeniable will to produce impressionist Pierre-Auguste Renoir Renoir''s rheumatoid arthritis deeply artist and an admirer of Renoir''s work, Boating Party, Renoir captures Toulouse-Lautrec''s physical appearance and limitations deeply influenced on the back of the painting by Toulouse-Lautrec later revealed that the Renoir and Toulouse-Lautrec could org/artist-renoir-pierre-auguste.htm# http://www.theartstory.org/artist-toulouse-lautrec-henri.htm http://www.theartstory.org/artist-toulouse-lautrec-henri.htm http://www.theartstory.org/artist-toulouse-lautrec-henri.htm http://www.theartstory.org/artist-renoir-pierre-auguste.htm%23important_art_header http://www.theartstory.org/artist-renoir-pierre-auguste.htm%23important_art_header http://www.theartstory.org/artist-renoir-pierre-auguste.htm%23important_art_header http://www.smithsonianmag.com/arts-culture/toulouse-lautrec-78257137/%23ySisHjiVvkmzibBz.99 http://www.smithsonianmag.com/arts-culture/toulouse-lautrec-78257137/%23ySisHjiVvkmzibBz.99 http://www.smithsonianmag.com/arts-culture/toulouse-lautrec-78257137/%23ySisHjiVvkmzibBz.99 http://www.smithsonianmag.com/arts-culture/toulouse-lautrec-78257137/%23ySisHjiVvkmzibBz.99 Art in Science: The Artist and The Disease: The Exemplary Cases of Renoir and Toulouse-Lautrec Art in Science: The Artist and The Disease: The Exemplary Cases of Renoir and Toulouse-Lautrec Renoir and Rheumatoid Arthritis Renoir and Rheumatoid Arthritis work_pficsiimjrbihomqak3hpnj3xq Professor of Chemistry who pursued two professional careers simultaneously throughout his life; Ansermet trained as a mathematician and taught mathematics at the University of who have set their science to music were included [8]. Are music and science different types of intelligence (as posited in the of music itself—have often been important components of the correlative talents of many famous scientists. and one of Helmholtz''s physics students, who also melded music and science. theory—at the hands of two other musically talented scientists, Ludwig new discovery is the result of musical hobbies in that visually oriented scientists have more images in their imaginaRoot-Bernstein, Musical Creativity and Scientific Thinking 67 of creativity, where music and science 68 Root-Bernstein, Musical Creativity and Scientific Thinking 68 Root-Bernstein, Musical Creativity and Scientific Thinking 68 Root-Bernstein, Musical Creativity and Scientific Thinking 68 Root-Bernstein, Musical Creativity and Scientific Thinking work_pgbyrtel4fbubhglbnokwwoxbm Modern sanatta tuval yüzeyi ve boya, geleneksel sanatın tersine bir anlayışla sahiplenilen ve Çalışmada, Modern Döneme ait resim sanatı akımları, analitik bir bakış açısı ve sürece etki ederek, akışı kökten yermiş ve modern yeni sanatçı tipini, dünya insanı olarak nitelendirdiği Bay G üzerinden tarif etmiştir. Modernizm, resim sanatında 1860-1960 yıllarını kapsayan bir dönem olarak ortaya çıkmıştır. Modern Sanatta tuval yüzeyi ve boya geleneksel sanattın tersine bir anlayışla sahiplenilen ve Sanatçı, "Grande Jatte Adası‟nda Bir Pazar Öğleden Sonra" (Şekil 4) resmini 1884-86 yılları arasında sanatçı hem renk üzerine bilimsel bulguları sanata taşırken hem de modern bir kentlinin hafta sonlarını Modern sanatta, Kandinsky ile başlayan soyut sanat, Kazamir Maleviç‟in de başvurduğu bir modern sanat dili olmuştur (Şekil 17). Rusya‟da 1917 Ekim Devrimi ile gelen değişimler, yeni bir dünya için sanatı da kendi 1960 yılında Minimalizm ile modern sanatta, başka bir sürece girilmiştir. Modern sanatta tuval yüzeyi ve boya, geleneksel sanatın tersine bir work_phbhoikexrbpnguammtjsvqs44 Kanada''da binlerce yıl öncesine ait ilk sanat örnekleri Aborjinler''de görülmektedir. çalışan bu sanatçılar arasında Thomas Davies, George Hariot ve James Pattisonn Cockburn gibi sanatçılar yer Bu dönemde Quebec''te hayat manzaraları resimleyen Cornelius Krieghoff ve Batı Kanada''da yerli hayatı resimleyen Paul Kane gibi Avrupa etkisinde erken Kanada ressamları dikkati çekmektedir. yüzyılın başlarında bir grup Toronto''lu peyzaj sanatçısı Kanada resminin gidişatını değiştirmiştir. Anahtar Kelimeler: Kanada sanat tarihi, Kuzey Amerika sanatı, Quebec sanatı, Kanada empresyonizmi, Yediler Estcourt ve E.Y.W. Herderson gibi ordu mensuplarının da olduğu sanatçılar tarafından Kanada''da Laval gibi, Yeni Fransa''daki önemli tarihsel karakterler görülmektedir (Rhodes, 2001). Erken Kanada sanatında önemli bir yere sahip olan Bu resimlerde Kanada peyzajının romantik İngiliz versiyonu sıkça görülmektedir (Rhodes, 2001). ressam Joseph Legare, Kanada doğumlu ilk peyzaj yüzyıl Kanada resminin bir diğer ressamı Krieghoff''un resimlerinde gökyüzü önemli bir yer ilk Kanada Kraliyet Akademisi sergisinde bir resmini gözü olan bir sanatçı" olarak nitelendirmiştir. Kanada''nın en ünlü ressamlarından olan Tom work_powd6hp7prekhfalihfvqzntau All lots from this sale not collected from HBAA seven days after the auction Kuala Lumpur College of Art, of Painting in 1982 and Watercolours in 1983. Art House Gallery, Kuala Lumpur in 1981, but he started making an impact in his solo Gallery, and later his works are shown in the Artique Fine Art National Art Gallery''s Creative Centre, Kuala Lumpur. artist, having studied at Mara Institute of Technology for her Fine Art Diploma the National Visual Art Gallery''s Young Contemporary Artist Award in won the Incentives Award in the Shah Alam Art Gallery Open solo exhibition at the National Art Gallery in 2012. Award in the National Art Gallery''s painting exhibition in 2009. Arts in Kuala Lumpur (Examples New Life in 2008, Recent Works in 201 0, Transitions in by the National Art Gallery, Kuala Lumpur, for his work, National Art Gallery, Kuala Lumpur, for his work, Nyanyian work_pwk4gbu4gbcg3przgdddw56xe4 nonhuman nature) as essentially a mere setting for the human drama, most of which view involves rejecting notions of nature as itself a possible locus of value, insight, or pluralism while also acknowledging nature''s intrinsic value, reality and agency? (pretending that no other kind of nature is possible); humanism, as concisely stated by human ''subjects'' and natural ''objects,'' and hence neither threatens the common assumes particular natural forms.74 And as Anna Peterson, like Ingold, points out, "Claims about the social construction of nature rely, ultimately…on a selfcontradictory assumption that culture is both a human invention and the basis from "merely" subjective.82 And he rejects the concept of intrinsic value in nature as monist a scale of human values."107 That means Hayward''s fourth point also falls: since the humanity within nature implies that our knowledge of the whole is necessarily nonhuman nature, or rather wildness (including human). Natural Relations: Ecology, Animal Rights and Social Justice. work_q27udx4jfjajpob5a6rx7veugi Convexity Measure for Shapes with Partially Extracted In this paper we define a convexity measure that can be applied to shapes with boundary curves completed by straight line segments. 2 Convexity Measure for Curves In this section we define a convexity measure for curves or disconnected curves consisting of γ the open line segment (AB) does not intersect the curve γ (i.e. In mathematical terms, the strict convexity of a given curve γ does not allow Now, based on Definition 2, we define a new convexity measure for curves and for disconnected curves consisting of several curve segments. Figure 2: The measured convexity of the presented zigzag curve tends to 0 as n tends to ∞. that the convexity measure would be a useful property for classification of the digits. IEEE Transactions on Pattern Analysis and Machine Intelligence, 28(9):1501–1512, 2006. A new convexity measurement for polygons. work_q4az75f22fdihf7jx5zocsf3we Houghton''s compositions with a focus on the visual art influences referenced in his music. Phillip Houghton cites many influences in his music, most prominently, visual art, Paul Klee''s writings about his art theory cite many musical influences, which Houghton notes In Case Study 2, Opals (1994) for guitar quartet explores the colour and movement of light in recital, I was intrigued to see how Houghton''s music and art influenced the work of another Stélé, composed in 1989, is the most famous of all of Phillip Houghton''s guitar works, it was Like Stélé and God of the Northern Forest, Houghton also created a painting for the Goldfish For this piece, Houghton did not note that any of his paintings were specifically connected; Houghton in 1992 around the time he composed the guitar duo Wave Radiance. From the Dreaming for guitar and flute, is in three movements and references Houghton''s work_q4va5r55pjaxnevd44bxqudwd4 exhibitions of French and Italian art which took place in the decade before the Second 35 "Exhibition of Dutch Art, 1450-1900" at the Royal Academy, London, 4 January-9 March 2. The "Exhibition of French Art, 1200-1900" at the Royal Academy in preparations for the "Exhibition of French Art" in London in January 1932; the "Exhibition of Italian Art" in 1930 and had recently moved from the National Gallery. While the "Chefs d''œuvre de l''art français" was an exhibition of French 254 AN Sous-série Beaux-Arts, F/21/4082, letter from Georges Huisman to André FrançoisPoncet, French Ambassador to Germany, 5 February 1937. Chefs d''œuvre de l''art français (1937), exhibition catalogue, Paris: Palais (1932), Two Pictures in the French Art Exhibition, «The Burlington Plan of galleries at the "Exhibition of Italian Art, 1200-1900", at the Royal Academy, catalogued for the "Exhibition of French Art, 1200-1900" as n. work_qcqqdk6ctnge5mukldipq4ujpy Donna Ames (2015): Art appreciation for veterans with severe mental illness in a VA Psychosocial Rehabilitation and Recovery Center, Arts & Health: An International Journal for Research, Policy Art appreciation for veterans with severe mental illness in a VA Art appreciation for veterans with severe mental illness in a VA Rehabilitation and Recovery Center (PRRC) for veterans with severe mental illness. VA WLA PRRC Art Appreciation class includes classroom sessions and community Keywords: veterans; mental health; art appreciation appreciation as a vehicle for mental health recovery, how the art appreciation class fits positive effects of art on the mental health of veterans and advocates for advancing the distress, appreciating art and learning about artists thus could have positive effects on Diary: The eight Ways to Practice TLCs. For some veterans, the Art Appreciation class is The class learned that artists express their feelings and emotions through their art. For the Art Appreciation class, five veterans work_qfc4fhuqe5crvpzjzrmkngq4na 빈번하게 일어나고 있으며, 그중 큐비즘 (cubism)은 현대의 미술 관하여 연구한 바 있으며, 패션 분야의 Lee & Park (2001)은 큐 큐비즘의 특징을 활용한 메이크업 작품 연구 A Study on the Make-up Works Applying Feature of Cubism Jong-Ae Lee1 and Yun-Kyeong Mun2,* 1Graduate School of Convergence Design & Arts, Sungshin Women''s University, Seoul 01133, Korea This study aims to improve make-up artistry by combining elements of Cubism to suggest creative make-up designs. We investigated specialized books, thesis, and online materials about Cubism, and classified its painting features and Picasso and Braque founders of Cubism were selected, and four works from each artist were studied. This study was based on Cubism''s Keywords : Art make-up, Braque, Cubism, Make-up, Picasso 다. 이처럼 메이크업 분야에서 큐비즘에 대한 연구 중 피카소에 용하여 분석적 큐비즘과 종합적 큐비즘의 특징에 따른 작품 8 큐비즘은 원근법적 시각으로 보이는 대상의 모습이 아니라, 여 며, 아직 흑인 미술의 영향을 받았던 때이다. work_qhpci3jelnb5bn2n3qpbrvsb7q Henri Matisse''s images in Jazz, created during the disruption of the German the Book: Jazz", in: idem, Matisse''s Poets: Critical Performance in the Artist''s Book, New York Flam, "Jazz", in: Henri Matisse Paper Cut-Outs, ed. [8] Matisse created another pair of matching images: Icarus which went into Cirque, Verve and Jazz or whether he created new images based on the originals. 12 Henri Matisse, Jazz, text translated from the French by Sophie Hawkes, ed. 7 Henri Matisse, Lagoon 1, in: Jazz, Paris: Tériade 1947, 122-123 (© Succession H. name as the book, when he revealed the new text-image dynamic he adopted for [51] Since Jazz departed from the text-image relationship that Matisse articulated in "How I made my books", he seems to have considered that the new text-image [54] In addition to the découpage images and the hand-written text, Matisse [56] Although Matisse approached the text-image dynamic of Jazz from a different work_qj7anlwlzvboxh2mrn3phoknbi The study deals with the process in which Course of Basic Art Teaching is transformed into a street fashion show with the slogan intra-course activity in accordance with the problem given using various materials on a drawing paper. Basic Design Courses were first started with the foundation of Bauhaus, which brings art, industry and craft Basic design is a discipline which adopts doing entirely abstract researches and studies which are not directed to Basic Design Training initially started as the main course in the institutions providing only art education, evolved The Phases followed in Basic Design Training Course The final products of the course taught within the triangle of theory, design and practice are exhibited at the end theoretical studies and final products obtained at the end of basic art training course are presented on two With the Basic Design Training course which was taught with the association of theory and practice following these work_qjots3p23zbcjj237ykmtskq44 belong ''dance'' which represents human behaviour, music which represents the dynamic framework of the world, the figurative arts (including sculpture and decorative arts) "man-universe"), the signs of images (the lines are the non-verbal means of the idea non-applied arts is twofold: the figurative and expressive origins converge in it, conditioned by the values of the referents of such signs. of the object itself, in the non-applied arts the position of the signs and their referents The figurative activity initially emerges as an attempt to fix, by means of sign formation in the image, actions performed in space by an individual that are connected with Initially then, figurative activity takes the form of actions that are external and operations with objects of perception that are external in the case of people, which are the work_qnod5z5kmveebpnzvreffsiwju sys_1000 wp-p1m-38.ebi.ac.uk wp-p1m-38.ebi.ac.uk exception exception Params is empty Params is empty Params is empty if (typeof jQuery === "undefined") document.write(''[script type="text/javascript" src="/corehtml/pmc/jig/1.14.8/js/jig.min.js"][/script]''.replace(/\[/g,String.fromCharCode(60)).replace(/\]/g,String.fromCharCode(62))); // // // window.name="mainwindow"; .pmc-wm {background:transparent repeat-y top left;background-image:url(/corehtml/pmc/pmcgifs/wm-nobrand.png);background-size: auto, contain} .print-view{display:block} Page not available Reason: The web page address (URL) that you used may be incorrect. Message ID: 220030576 (wp-p1m-38.ebi.ac.uk) Time: 2021/04/06 02:46:15 If you need further help, please send an email to PMC. Include the information from the box above in your message. Otherwise, click on one of the following links to continue using PMC: Search the complete PMC archive. Browse the contents of a specific journal in PMC. Find a specific article by its citation (journal, date, volume, first page, author or article title). http://europepmc.org/abstract/MED/ work_qrshdzmofvexdhyjhaptb2twt4 Este trabajo tiene como enfoque de análisis cuatro museos ubicados en la ciudad de Cusco, Perú. puedan ser interpretados como complementarios, cada uno ofreciendo una visión diferente del pasado cuzqueño y su relación al Cusco Palabras claves: museos, Cusco, Inca, Machu Picchu, nacionalismo, incanismo, Hiram Bingham. Los museos más popula res del Cusco están los incas, a las cuales a veces se conoce como Killke y Sala del Mallkiwasi (Casa de los Ancestros), Museo Inka. legado cultural colonial del Cusco, por lo que el hogar del Cusco persistió hasta que el museo fue renovado a Fachada del Museo Histórico Regional, Casa Garcilaso de la Vega, Cusco. presenta una visión sumamente distinta que la del Museo igual que los otros tres museos, las exhibiciones llenan Los costos de la instalación del Museo Machu El enfoque del Museo Machu Picchu es más las élites mundiales que se refleja por museos de arte work_qydyskeisnhd3bjdwsnph3anmq i n t r o d u c i n g modernism i n t o America through the work of European formal experiments i n t o the work of American young American a r t i s t s , i n f l u e n c e d by the new European : New Y o r k : Modern L i b r a r y , 1934. : New Y o r k : Modern L i b r a r y , 1934. "How, When and Why Modern A r t Came t o New Museum o f Modern A r t , New Y o r k . Museum o f Modern A r t , New Y o r k . Museum o f Modern A r t , New Y o r k . Museum o f Modern A r t , New Y o r k . work_r4snsamedncdre4fldvz5bbb6i SR-FTIR imaging has been used to map the mid-IR active photo-degradation phases in two thin sections of cadmium yellow paint removed from Henri Matisse''s Le Bonheur de vivre (1905–1906, The Barnes cadmium yellow paints from both regions were found to contain cadmium carbonate (CdCO3), Photo-degraded cadmium yellow paint samples were removed IRENI sample, only the altered CdS paint layer. Fig. 3 Visible, ultraviolet light, and SEM images of sample S117 collected from the lightened yellow field (now ivory-hued) below the central reclining figures are This sample was split, and panel A shows the portion of the sample mounted as a cross-section with the painting''s white ground layer visible. Note the presence of chlorine and zinc in this paint sample, and also the low level of sulphur compared to cadmium. cadmium sulphate can be observed throughout the paint layer, to the top surface of the sample, suggesting cadmium carbonate''s role as a photo-degradation product. work_r5udj4oia5evziamclos7y5jca pontos de vista daqueles que perceberam, na produção dos internos, confi gurações instigantes para seu campo de conhecimento: a arte, a psicologia, a psiquiatria, a sociologia entre outros. artes plásticas com os internos do Hospital Psiquiátrico de Juqueri município de Franco da Rocha, São Paulo. na década de 1950, com a participação de três artistas plásticos, Maria Leontina, Clélia Rocha e Moacyr de Vicentis Rocha, consolidando a formação sionais do hospital psiquiátrico, investiu na estruturação do ateliê de pintura com atividades orientadas por profi ssionais da área de artes plásticas. Não foi tarefa fácil encontrar informações da participação de artistas na seção de artes do hospital psiquiátrico de Juqueri, uma vez que a Quando Maria Leontina aceitou o convite para orientar os trabalhos da Seção de Artes, ela já era respeitada como artista no meio cultural work_reqowwq4urfn3abcjmfmhqwqo4 umetnostima u kojima je umetnièko delo singularan fizièki objekat, takozvanim autografskim umetnostima, dok se druga vrsta falsifikata mo�e pojaviti i u drugim, alografskim, umetnostima, iako mnogo reðe. Kljuène reèi: umetnièko delo, fake i forgery, autografska i alografska umetnost, estetska svojstva objekta, notacija, tip i token. Tako, na primer, originalno delo mo�e da ostavi na nas izvestan utisak „monumentalnosti" koji nedostaje štampanoj reprodukciji ili monitoru dijagonale 15 inèa. kad je prihvaæen van Megerenov falsifikat kao originalno Vermerovo delo, klasa Vermerovih dela je proširena, i sve naredne slike koje I pored toga, ono nije prazno na naèin na koji je prazno nedovršeno Ðorðoneovo remek-delo ili uzorak boje. Ali ako smo prihvatili kontekstualnu interpretaciju umetnièkog dela u slikarstvu, nekonzistentno bi bilo kad ne Ako umetnièko delo konstituišu iskljuèivo njegova intristièna svojstva, onda ne mo�e postojati razlika izmeðu originalnog dela i reprodukcije sve dok nismo u stanju da ih vizuelno work_rkdu3oxhwre2revmkg6rfyn7me programs is the ability to handle abstractions in a precise manner." Wing [11] confirms the importance of programs is the ability to handle abstractions in a precise manner." Wing [11] confirms the importance of have also discussed abstraction as a core skill in mathematics and computing. have also discussed abstraction as a core skill in mathematics and computing. about abstractions, be they formal models for analysis about abstractions, be they formal models for analysis the students appeared to lack abstraction skills and the students appeared to lack abstraction skills and students'' ability to apply abstraction. students'' ability to apply abstraction. abstract thinking and reasoning, these students seem abstract thinking and reasoning, these students seem Measure students abstraction abilities annually while Measure students abstraction abilities at the time of tests for measuring students'' abstract thinking and that a sound understanding of the concept of abstraction and its importance in software engineering, and work_rtk3f7jgx5dgdhhfqyfffkueya Keywords: affect; cultural heritage; Herald exhibition; Murdoch press; museums of history sheds new light on the Herald exhibition and its relation to shifting Australian national Board of the Herald newspaper to finance an exhibition of European modern art, that ''Gallipoli We might think of the Herald exhibition of contemporary European art as offering Australian Janice Baker: Arcadian modernism and national identity: The ''Murdoch press'' and Janice Baker: Arcadian modernism and national identity: The ''Murdoch press'' and Janice Baker: Arcadian modernism and national identity: The ''Murdoch press'' and the 1939 Australian Herald ''Exhibition of French and British Contemporary Art'' the 1939 Australian Herald ''Exhibition of French and British Contemporary Art'' the 1939 Australian Herald ''Exhibition of French and British Contemporary Art'' the 1939 Australian Herald ''Exhibition of French and British Contemporary Art'' the 1939 Australian Herald ''Exhibition of French and British Contemporary Art'' the 1939 Australian Herald ''Exhibition of French and British Contemporary Art'' work_rvnl5eeftvexvm36byxjk4pll4 of children 7– 8 years old, we assessed the effects of a 3-month philosophy class designed to engage epistemological understanding and argumentation skills in 4 domains of knowledge: aesthetic, value, children''s ability to construct their own and opposing arguments across domains and facilitated reasoning Keywords: epistemological understanding, argumentation skills, cognitive development, philosophy Researchers have traditionally proposed stage-like developmental changes in children''s understanding of knowledge (see Hofer & One factor that may be important to the development of children''s beliefs about knowledge is engagement in dialogic interaction with peers. study, the intervention we introduced did not directly teach argumentation skills but simply exposed children to the presence of In the current study, we explored the effects of dialogic interaction on the development of argumentation skills and epistemological reasoning strategies in 7to 8-year-old second graders. support the development of critical thinking skills and epistemological understanding in very young children. work_s4nmvmo3vrhtjdxvhwh6srrd6e 44A World Apart: Anna Ancher and the Skagen Art Colony, an exhibition held at the National Rudy Price, review of "A World Apart: Anna Ancher and the Skagen Art Colony," Madsen''s book, centered his description of the Skagen artists on Michael Ancher''s Pollock reminds scholars that women artists, like Ancher, did not create art in a vacuum, century, however, Michael Ancher''s painted representation of Anna in reform dress The painted image of Michael''s wife, artist Anna Ancher, appeared as a key J. Clark, The Painting of Modern Life: Paris in the Art of Manet and his Followers (New 95 Annette Johansen, "Anna Ancher," in Krøyer and the Artist''s Colony at Skagen, ed. 2013 show A World Apart: Anna Ancher and the Skagen Art Colony held at the National Museum of Once Ancher encountered new ideas about art in Copenhagen and Paris, her "Anna Ancher." In Krøyer and the Artist Colony at Skagen. work_scaivxdlb5fpdm3cdpazcpfrta parks and green spaces are one of the most important elements and elements of the city and dynamic institutions and play a latest news and developments of art, and eliminating the minimum need for educational space, recreation and culture, which Key words: Urban landscape; sustainable development; Persian garden; modern art In the past, gardens and in the present days, parks are part of urban green spaces, which have played a major In this paper, we are going to explain briefly the urban landscape, the dimensions of the Iranian garden and modern art, and, Gardening is the combination of architectural elements, plant elements, and water displays, so that the result of the work, given designers, in order to meet the physical and emotional needs of gardening, pursue four objectives for the creation of a space name of the park were replaced by private gardens in order to meet the social and beautiful needs of the urban landscape. work_sjvcndejnzdu5itebi2pbytz64 Ser tal como se enuncia em uma obra não tem medida: "livre abandono ao que modernos, é a pintura que desvela a Merleau-Ponty uma "filosofia concreta", díspares, como instrumentos interrogativos de uma visão que, no fim das contas, é a da "gênese secreta e fervorosa das coisas no nosso corpo" (MerleauPonty 1964: 30). visível" (Merleau-Ponty 1964: 26), pois que não é mais que celebração indefinida do enigma de uma visibilidade feita do encavalamento e latência das Mas como poderia ela ser obtida de tal modo que o mistério da aparência seja captado no mistério da fatura? ver nas modernas obras de criação é a marca de uma experiência do Ser a que coisas repouso absoluto em si, na sua homogeneidade, "sem nenhuma espessura verdadeira" (Merleau-Ponty1964:47-48) -, a espacialidade pictural deixase qualificar cézanneanamente: ela "resplandece em torno de planos que não se Merleau-Ponty 1964a: 63) -, tal se dá porque cada uma delas aparece como work_smc2pj4usrglboaowwpwg6hrue Many Chinese painters working in the medium of ink painting, or guohua, in the 1930s saw their reproductions in publications related to the Chinese Painting Association (Zhongguo Huahui). (Collection of Famous Modern Chinese Paintings).2 The texts as well as the illustrations in the Many members of the Chinese Painting Association worked as editors for book companies, to include the translation taking place in remediations, for example, when photographs of artworks are reproduced in print.11 Lydia Liu has described modern Chinese literature as "translingual The special issue is illustrated with Chinese and European landscape paintings from various Special Issue on the Ideas of Landscape Painting in China and the West" (Zhongxi shanshuihua The quality of the illustrations in the special issue on the "Ideas of Landscape Painting in China The case was slightly different for a catalogue published in May 1935 by the Chinese Painting Association, the aforementioned Zhongguo xiandai minghua huikan (Collection of Famous work_sudnax3w2zhv5j4t6udqraxtv4 Raoul Dufy''s exceptional gifts as a textile designer are on full display in the bold forms and luxurious colors he produced over two thousand textile designs for both printed and woven fabrics that contributed to the Bianchini-Férier originally released Dufy''s design as a large square shawl, from which the coat is The origins of Elenhank Designers—the printed textile design business of husband-and-wife team first foray into "art by the yard" with Riverdale Fabrics: AAA designs were printed on furnishing-weight Maix studied at the New York Art Student''s League, and in the 1930s his interior design savvy and L. Anton Maix textiles are in the collections of the Cooper Hewitt, Smithsonian Design Museum, the Los have made Rhodes one of the important British textile and fashion designers of the twentieth century. Shortly thereafter, Poltronova also manufactured this printed textile, whose color scheme and design work_sul5qbuq7rgsvdpbfe6xxp3b6a information from index cards on plundered works of art brought to the Jeu de Paume and the Louvre In general, the German occupiers seemed satisfied with the artistic yield from the M-Aktion plunder, and felt that "quite significant art assets had been recorded".10 However, in theory, a direct sale of art objects was initially only intended for those works that were Even if M-Aktion art works were considered of artistic value by the ERR, their saleability Fig. 3: ERR-card of works designated for sale from the Rothschild collection There are over 730 works designated for sale from confiscated art collections, compared to just about 320, less than half, M-Aktion from private owners came from the collection of the art dealer Paul Rosenberg, Since the confiscations of art works from Jewish collections by German occupiers in five freight cars full of modern art works plundered from Jewish collections from Paris work_sz5vus7mxrbdtndi374pppuuty A Discrete Model for Color Naming | Semantic Scholar Corpus ID: 6444647A Discrete Model for Color Naming title={A Discrete Model for Color Naming}, In this paper, we propose a discrete model for computational color categorization and naming. Psychophysical Measurements to Model Intercolor Regions of Color-Naming Space Re-locating colors in the OSA space View 1 excerpt, cites methods View 2 excerpts, cites background View 2 excerpts, cites background View 2 excerpts, cites background A computational model of color perception and color naming A computational model for color naming and describing color composition of images A computational model for color naming and describing color composition of images Locating basic colors in the OSA space View 1 excerpt, references background View 1 excerpt, references background View 1 excerpt, references background View 1 excerpt, references background View 1 excerpt, references background View 1 excerpt, references background View 1 excerpt, references background View 1 excerpt, references background work_tgviv7sv5zhvxdz5uhvfmmjcvu generate color grids paired with inspiration texts (a word, a poem, or song lyrics), which Keywords: aesthetics; the text; Bauhaus color psychology; theories of reading; semiology; and renders out of that text a color grid that conveys an aesthetic impression which through four basal psychological modes, i.e., thinking, feeling, sensation, and intuition, our artbot "reads" a narrative text in five complementary ways: rationally, and Aesthetic Reading, are concerned with digesting the input narrative text, passing those digested pieces through the different interpretive lenses of five Readers, and of these calculi, each of the five aesthetic Readers renders input text into color space Rendering Aesthetic Impressions of Text in Color Space 35 Rendering Aesthetic Impressions of Text in Color Space 35 Rendering Aesthetic Impressions of Text in Color Space 35 Rendering Aesthetic Impressions of Text in Color Space 35 Rendering Aesthetic Impressions of Text in Color Space 35 work_ticexmmmjfff5pxtsxdgogthsi experimentations with the traditional sonnet form in poetry. an influenced by cubism and used the principles of this form to stylize his poetry. He changed the nature of the sonnet form, as seen in his political poem and satire, Cummings''s poems is a result of his ingenious or ''self'', were principles Cummings opposed. Cummings''s disturbance of syntax comprises a Cummings''s fusion of individualism, Friedman (1972) states that Cummings to Cummings''s principles of ''feeling first'' and example, not articulated aloud, means Cummings Cummings''s satirical target, not the speaker, but Cummings with, in his words, "[the rudiments] of favourite form (Cummings, 2015, p. Cummings''s sonnet is also into traditional (sonnet) structure, Cummings''s comprise Cummings''s "literary cubism" (Kennedy, Cummings: Modernist painter and poet. (Re)valuing Cummings: Further essays on the poet, 1962 – 1993. Cummings: The art of his poetry. Cummings: An introduction to the poetry. New York: Columbia University Press. work_titxdrmjjbbjpj677g4nzbj4uy This research is aimed at studying features and visual qualities of images in toys and toys packaging. the most important research question was that, what is the first impression of images on the toys and packaging Keyword: Image, Packaging, Toy, Play, Children Main goals of study are to investigate features and visual qualities of Images in toys packaging and providing relationship between Images and toys packaging and the process of its production. • The most important features of Images in toys and packages of toys are: a design attractive, admirable the statistical population is the set of designs and Illustrations on packages containing kids'' toys existing in digital In principle, image in packaging toys includes one of the following elements: graphic works, photography and In early days, images on toys packaging, playing with line element shows itself more than color and surface. The researcher found that though the Images on the surfaces of packages containing toys is very work_tkdjnf3nnvcpdamuekuzu6qp6a 제1세대 한국 패션디자이너 노라노(노명자)를 중심으로 The specific questions of this research are as follows: how did mid-to-late twentieth century Korean fashion and the Nora Noh brand develop and what is the relationship between the 힘을 더했고 1957년에는 최초의 디자이너 연합회인 받아들여 양장점 형식을 탈피한 디자이너 패션의 시 는 ''해외시장개척기'' 그리고 1990년대는 ''사업축소기'' 1983 Nora Noh West 론칭 및 New York, Nordstrom 백화점 입점. ''노라노 웨스트(Nora Noh West)''를 론칭했고 같은 유럽식 패션쇼의 형식을 충족한 최초의 디자이너 패션쇼 개최. -1963: 디자이너 기성복 패션의 시대가 열림. 데 노라노가 패션계에 입문해 1940년대는 제1세대 1950년대는 검열 없이 유입된 구제품과 디자이너 부산광복동을 중심으로 디자이너 활동 및 구제품 1963년에는 노라노가 최초의 디자이너 1970년대는 상업브랜드의 도약과 디자이너 기성복 시장을 장악했으며 백화점 내 디자이너 기성복 코너 본 연구의 결과 디자이너 노라노의 활동시기별 특 도 1950년대는 최경자, 노라노, 서수연, 김경희 등 제 18) "패션계의 신화, 디자이너 노라노" (2007. "한국 최초 패션 디자이너 노라노" (2012. "한국 최초 패션 디자이너 노라노" (2012. work_tr5t72prb5bppfe2js55hbip6m Öz: Bu araştırma; 1884-1920 yılları arasında yaşamış Yahudi sanatçı Amedeo Modigliani''nin; özgün artists as Pablo Picasso, Wilhelm Lehmbruck, Alexander Archipenko, Maurice Utrillo, Max Jacob, Jules olduğu gibi sanat alanında da düşünsel bir hareketin doğmasına neden olmuştur. Modigliani''nin ilk olarak heykellerine bakıldığında, sanatçının Afrika İlkel Sanatı örneklerinden etkilendiği görülür (Hollingsworth,2009:445). ile aynı yıllarda Paris ortamında yaşayan bir sermekle birlikte Modigliani''nin eserleri ile kıyaslandığında, sanatçıda belirgin bir Cezanne Picasso gibi aralarında Maurice Utrillo, Guillaume Apollinaire, Max Jacob, Jules Pascin, Moise Kisling ve Chaim Soutine''in de bulunduğu Juan Gris, Diego Rivera gibi sanatçılarda Modigliani''nin doğal olarak yansıtan duygusal bir tavır ile de Modigliani ile aynı sokakta oturmuş bir başka Modigliani''nin çağdaşlarından bir başkası olan Juan Gris (1887-1927), Kübizm akımını benimsemiş ve konu bakımından ağırlıklı olarak natürtmortları tercih etmesinin yanı sıra figüratif çalışmaları da bulunan bir sanatçıdır. Bernard''a (2001:7) göre resim; Cezanne''ın ifadesi ile bir meslek değil, yazgıdır. Amedeo Modigliani için vazgeçilmez bir anlayıştır. Amedeo Modigliani, 36 yaş gibi çok kısa bir theartstory.org/ artist-modigliani-amedeo-artworks.htm#pnt_1 work_txjzwc46dvbczgbaomie26swwq Virtue Ethics and Investment Advisors in the Canadian Financial Services Virtue Ethics and Investment Advisors in the Canadian Financial Services Industry: Virtue Ethics and Investment Advisors in the Canadian Financial Services Industry: Virtue Ethics and Investment Advisors in the Canadian Financial Services Industry: An Application of Alasdair Maclntyre''s Tripartite Model of Virtue Ethics and Moral An Application of Alasdair Maclntyre''s Tripartite Model of Virtue Ethics and Moral Canadian securities industry, specifically, the roles of professional retail Investment of Maclntyre''s virtue ethics to the profession of the Investment Advisor. conceptions of a practice, the narrative unity of human life and the role of tradition will concepts of Maclntyre''s three part model of virtue ethics to the Investment Industry The challenges of applying Maclntyre''s virtue ethics to the Investment Advisor Maclntyre''s virtue ethics is the concept of tradition. Maclntyre'' s account of rival traditions of practical rationality presents goods of work_txquvystnvaf3bansf64pycqpa The colorful depictions of God in mystical consciousness of outlining, placing, and coloring a picture, which is the imaged or intellectual form of divine light. into rainbow colors then by analogy the human mind as imago dei is like a triangular prism that refracts the (white) light of God. The cognitive prism might Martin | The Colorful Depictions of God in Mystical Consciousness Martin | The Colorful Depictions of God in Mystical Consciousness Martin | The Colorful Depictions of God in Mystical Consciousness Martin | The Colorful Depictions of God in Mystical Consciousness Martin | The Colorful Depictions of God in Mystical Consciousness Martin | The Colorful Depictions of God in Mystical Consciousness Martin | The Colorful Depictions of God in Mystical Consciousness Martin | The Colorful Depictions of God in Mystical Consciousness Martin | The Colorful Depictions of God in Mystical Consciousness Martin | The Colorful Depictions of God in Mystical Consciousness work_tybrqbanxvdfhigsb5mvq7fbv4 Original, Copy, Imitation, Forgery, Counterfeit, Fake: In the 20th century, a time of exhaustive mechanistic reproduction due to new technology and the presence of media, such as photography and moving images, originality ceased to concern even the artists each time, in English we use the Greek word "mimesis" for the first case, and the word "imitation" coming product of imitation, the work of art is a creation of Greek painter who lived in Toledo, Spain.25 A counterfeit El Greco is a painting that copies an existing original painting of the artist, that is to say, has a directly the case of a fake work of art. copy, imitation, counterfeit and forgery, we could argue that they all work within the cultural environment For the concept of Mimesis-Imitation in Plato see Manolis Andronikos, Plato and Art, Thessaloniki 1952 (only in Greek, original For a case on the boundary among imitation, copy and forgery fake work is inferior to the original. work_ubsb6fmgcraf3ojnql45vi2lbu elemental composition of 62 modern bronze sculptures cast in examined primarily using ICP-optical emission spectroscopy (ICP-OES) to determine the precise elemental composition of the alloys. Table 1 Description of 62 modern bronzes studied here, including artist, accession number (AIC and PMA indicate the sculpture is from the Table 3 Normalized elemental composition (wt.%) for 62 modern bronzes from AIC and PMA, which have been separated according to figure and base were cast from the same bronze composition and later joined together (see Fig. 1a, b). Matisse to Picasso: a compositional study of modern bronze sculptures Matisse to Picasso: a compositional study of modern bronze sculptures Matisse to Picasso: a compositional study of modern bronze sculptures Matisse to Picasso: a compositional study of modern bronze sculptures Matisse to Picasso: a compositional study of modern bronze sculptures Matisse to Picasso: a compositional study of modern bronze sculptures Matisse to Picasso: a compositional study of modern bronze sculptures work_uemeax6g7bguzeoedgmxdhiwzm Post-war "resurrection" of Gaudí cannot be separated from the large number of publications, exhibitions, photographic series and even films that shaped his figure according Gaudí; Architecture Magazines; Exhibitions; Films; Photography Barcelona, by Josep Francesc Ràfols, (1943), Emilio Riva''s documentary Gaudí (1943), the homage of Joaquim Torres García to the "the most to organize a Gaudí exhibition in Barcelona our country meant not only the discovery of the new Spanish architecture but also the confirmation of Gaudí''s art and the fascination towards exhibition of the works of Antoni Gaudí, based on a book dedicated The take-off of the new vision that Cirlot offered of Gaudí was accompanied by the international spread of the photographs of Gomis and Prats Of the 30 photographs that were exhibited, 18 showed Gaudí''s works and Síntesis del arte de Gaudí (Barcelona: Omega, of Art. Finally, on May 26, the Gaudí exhibition was opened in Saló del work_uh2gezdeargshe2altjma4rm2a Background Dissociated and associated phoria are measures of latent strabismus under artificial viewing conditions. associated phoria predict the "comfortable prism", i.e. the eso direction in relation to the comfortable prism (associated phoria not less than dissociated phoria). Conclusions The deviation of both, dissociated and associated phoria, from the comfortable prism suggests that the prism correction of fixation disparity: associated phoria Each of the three conditions (dissociated phoria, associated phoria, comfortable prism) was tested in a block of observers, the range of the intertrial mean was for dissociated phoria from +9.3 eso to −5.9 cm/m exo deviation, in five observers, dissociated and associated phoria were difference between associated phoria and comfortable prism In an extra session, this observer determined the comfortable prism before the tests for dissociated and associated associated phoria, and comfortable prism) were rather associated phoria, and comfortable prism) were rather Do dissociated or associated phoria predict the comfortable prism? work_uoa75hvy2vgahmm6shuafaifdy http://osc.hul.harvard.edu/dash/open-access-feedback?handle=&title=Neuroaesthetics%20and%20the%20Trouble%20with%20Beauty&community=1/1&collection=1/2&owningCollection1/2&harvardAuthors=51e0adc71d017c248a6eab69cdbe0fae&departmentMusic Neuroaesthetics and the Trouble with Beauty neuroaesthetics is to be concerned specifically with beauty, it must draw distinctions between mechanisms for such disparate reactions. beauty are related to art, neuroaestheticians have focused their attention on the Citation: Conway BR, Rehding A (2013) Neuroaesthetics and the Trouble with Beauty. in study design, data collection and analysis, decision to publish, or preparation of the manuscript. to other brain structures that are responsible for evaluating options against expected rewards—attaching significance to the research is often described as the neuroscience of art, rather than neuroaesthetics, The only universal feature of beauty besides our capacity the pattern of activity across many distributed brain regions—specifically those responsible for perception, reward, decision strokes of the region would impair experiences of beauty. experience of beauty if the mOFC is not and experiences of beauty must exist. capacity to experience beauty. identified in fMRI studies of beauty in work_up4ci7mpprcj3jrphmcdymnbvm Carl Gustav Jung, Quantum Physics and the Spiritual Mind: non-empirical realm of the universe that doesn''t consist of material things but of forms. that the empirical world is an emanation out of a cosmic realm of potentiality, whose forms Keywords: archetypes; cosmic consciousness; mysticism; non-empirical reality; potentiality; Jung''s psychology: The discovery of a realm of non-material forms, which exist in the physical reality existing, real forms, which can appear in our mind out of a cosmic realm, in which they are stored. think that the entire visible world is an emanation out of a non-empirical cosmic background, which is ETs in the realm of potentiality wouldn''t form a coherent whole, the empirical world that is emanating surface of things there is a realm of invisible forms, which have the potential to appear in the empirical Thus, Quantum physics is a form of mysticism; and so is Jung''s psychology. work_ust5lwnnkrbqfmylqjzqgjo62e We were a mixed crowd: Singer''s family; Americans long having resided in France; international tourists just passing through; French many African American jazz musicians who had played in France, the The group of African American jazz musicians who migrated to reasons for the migration of African American jazz musicians, strategies In this period jazz helped forward illusions of Paris as color-blind, and some African American musicians willfully Many African American jazz musicians shared Singer''s perspective of opportunities for jazz, and for African American jazz musicians in particular, prevailed for a time in France. the perception and the experiences of African American jazz musicians in for migrating African American jazz musicians and communities of jazzophiles with whom they collaborate. Jackson''s Making Jazz French: Music and Modern Life in Interwar Paris, As the U.S. government drew on African American jazz musicians to African American jazz musicians in Paris remained silent, they used their work_uuyjjp3ld5cu3mw4usffpqgqzq operators to transfer the photograph into an abstract painting style with increased perceptual ambiguities of both the scene Additional Key Words and Phrases: Abstract art, entropy, image parsing, painterly rendering, perceptual ambiguity, semantics measure the level of perceptual ambiguity, and propose an abstract painting rendering method using image — We propose a painterly rendering method for generating abstract painting images from photographs, Example image patch pairs of abstract paintings of different object categories and their corresponding photographs Three abstract paintings of different ambiguity levels rendered using our method, corresponding to the example in A photograph of UCLA Royce Hall, and two corresponding abstract paintings of different ambiguity levels rendered Fig. 13 shows a few more abstract paintings rendered using our method, whose ambiguity levels are between The computed ambiguity levels of these rendered abstract paintings also examined the ambiguity levels and perceptual paths of our rendered abstract paintings using human work_uwek3zo6evamvk6hu63uncuwey complexity, curvature and innovativeness, which are all thought to affect design appreciation were the aesthetic appreciation of real design objects, in the first experiment of the present study of different levels of innovativeness depending on interest and expertise with design or art. complexity and innovation as well as interest in art and design for the appreciation of All participants rated all 27 stimuli according to perceived attractiveness, complexity, A three-way repeated measurement analysis of variance (ANOVA) using the attractiveness ratings per participants with curvature (straight, original, curved), complexity complexity, innovativeness and curvature the analyses of these explicit ratings are reported innovativeness, and this was particularly the case when straight designs were rated. innovative stimuli, particularly in art and design. We have reported results concerning the attractiveness of car interior design, which interested in art preferred curved design more than other people did, and judged innovative The less appreciated straight design appeared innovative in a work_v4f5hfqrcrdq3npmnqwtbpg36a The overlapped skyline of the Baroque cities in the Val di Noto. The urban landscape of the Val di Noto has an extraordinary charm, not only for the architectural Skyline; Val di Noto; Urban landscape; Drawing; Baroque Towns of the Val di Noto (South-Eastern exceptional quality of the late baroque art and architecture in the Val di Noto lies in its geographical and then reach the specifics of how to communicate the urban structure of these cities with drawings. that is innate even in the drawings of the landscape of this small city; it comes by itself. urban landscape of the small towns in the Val di The episode ''Requiem''17 in the first film was largely shot in the main square of Ragusa Ibla. Fig, 9, Monumental staircases of Churches: Cathedral of Noto, Ragusa Ibla and Modica, 2015. e le città del val di Noto ''patrimonio Baroque Towns of the Val di Noto work_vfo3ftdjyzabxmai72jhoghaoy Key words: Kant, Hegel, colour, drawing, line philosophers, writers and artists, drawing has to be thought in relation to colour. the way Kant and Hegel''s engagement with drawing is equally one with colour, is part its relation to the line are addressed as they occur within the work of art. ideational content of art''s work, then the opening assumption that form is informed and between line and colour – thus drawing and painting – are then conceived. Precisely because the line works as a point of departure, the opening question has to to be crossed is the presence of the line as informed form, though, and this point is key, Once allocated the quality of being a locus of thought, then neither lines nor drawing possibility of line and thus drawing as a locus of pure abstraction. informed, then the presence of line or colour, and thus drawing and painting, cannot be work_vgqxswh4pzcdhpr2livk4yr5vm Hence, multi-sensory experiences hold the most prominent position in contemporary art, and visual tactility, where feelings of touch through sight, become a powerful medium of expression in fashion. This study analyzes visual tactility in Alexander McQueen''s design, where design elements are in focus. 눈으로 느끼는 시각적 촉각(Visual Tactility)의 관점 이에 본 연구에서는 패션에 나타난 시각적 촉각을 자료 중 시각적 촉각을 유발하는 알렉산더 맥퀸 는 촉각을 ''시각적 촉각(Visual Tactility)''이라고 한 만져서 촉각을 느끼기 보다는, 시각적 인지를 통하여 시각적 촉각을 중요한 감각의 원천으로 격상시켰다. 각적 체험을 하는 시각적 촉각을 느끼게 된다는 사 각적 촉각을 형성하는 조형적 요소를 시각적 디자인 사물의 형태는 다양한 시각적 촉각을 경험하게 한 한편, 질감의 시각적 복잡도가 높아지면 촉각적 관람자들에게 새로운 촉각적 느낌을 경험하게 한다. 지함과 동시에 시각적 촉각을 느끼게 된다. 언급과 같이 인간의 눈을 자극하여 시각적 촉각을 시각적 촉각을 복식 디자인의 기본 요소인 형태, 소 형태는 시각적 촉각을 연상하게 하는 조형 요소 소재의 질감은 시각적 촉각을 느끼게 하는 주요한 강렬한 시각적 촉각을 경험하게 한다. work_vimqis7apzdmpoyzxscztfz3da Monod, and colleagues, working with bacteria, had proposed the existence of regulatory molecules called "repressors" that would turn off expression of specific genes In other words, on WT DNA, the repressor binds cooperatively to sites 1 and 2 (Fig. 2). The polymerase has a weak affinity for the promoter, and the activator (shown here binding to a single site) recruits it works just as does the repressor in its guise as an activator, but it does so at a site that prompts transcription the repressor must be bound to OR2 to activate transcription from the adjacent promoter PRM and that the repressor ordinarily binds to OR1 (a strong site) cooperatively The repressor activates transcription of its own gene in a Recall our findings that the activating and DNA-binding functions of the � repressor are genetically separable: activator in yeast of genes bearing Gal4-binding sites work_vta3jcg2ybgsrpqqs5y3fmvcai In 1958, Philip Johnson invited Rothko to paint a series of works for the Seagram the murals into an environment for the exhibition Mark Rothko: Kaaba in New York at Alicia Legg, Mark Rothko (New York: Museum of Modern Art, 1961): 8. See David Anfam, Mark Rothko: The Works on Canvas (New Haven and London: the exhibition Mark Rothko, The Seagram Mural Project at the Tate Gallery, Liverpool. Rothko not only related his paintings to the architecture and space of a gallery, Tradition,‖ 37-50; Peter Selz, Mark Rothko (New York: Museum of Modern Art, 1961): 12; Irving Sandler, Mark Rothko/Paintings 1948-1969 (New York: Pace Gallery, 1983); Arts Gallery in New York, where The Road (1932/33, Collection of Christopher Rothko, Among many other works contemporary to Rothko''s Seagram paintings, this is Modern Art in New York, in 1961-62, makes it likely that Newman and Rothko must work_vwwrgdzpj5ebvl2522z7dck6rq No entanto, sua obra foi, por muitos anos, percebida como limitadamente calculada, racional, em parte devido às próprias declarações do artista, que enfatizava a "literalidade" de seus projetos. Bem, é esta figura que aqui estaremos relativizando, baseados na recepção crítica da obra de Judd das últimas décadas, bem como na própria obra e nas suas declarações e Bruce Glaser poderiam explicar como as cores dos materiais extravagantes de Judd — artificiais e surpreendentes — ancoradas na experiência real, não geraram maior atenção da crítica... Para que a cor do material seja transmitida em sua totalidade, a luz incidente deve ser branca. Os três "materiais" mais importantes para Judd, como ferramentas poéticas são, enfim, localizados: a matéria, o espaço, e a cor-luz. Não só Donald Judd, mas toda a geração de artistas norteamericanos residentes em Nova Iorque nos anos 1960, tomou a existência de materiais diversos como o princípio para a criação de suas obras. work_vwzxskvxkjh65mruup4zx7no5e Opening of the exhibition of Parmigianino''s (1503–1540) Antea from the Museum of Capodimonte in Naples in the Frick Collection of New York. The granddaughter of Victor von Klemperer asked the Berlin art gallery and auction house Grisebach, which sold her grandfather''s Max Liebermann (1847– The fifth meeting of the Interpol Expert Group (IEG) on Stolen Cultural Property was held in Lyon, France, and passed a recommendation on a close cooperation between Interpol, UNESCO, and International Council of Museums (ICOM) Sotheby''s Russian art auction in New York achieved respectable totals largely because of nineteenth-century paintings that did well. Sharjah, United Arab Emirates, opened a new Museum of Islamic Art with a loan Christie''s of London sold paintings from the Prince of Liechtenstein art collection. Philadelphia Museum of Art. Frankfurter Allgemeine Zeitung, 14 May 2008, p. in Berlin, was exhibited in the Museum of Modern Art in New York. work_vyhfsz3n3baolbdnfpp52y4qba art originating from Africa has begun to be more widely presented in museums with a strictly artistic African art objects in ethnological collections Initially, African art was exhibited in ethnographic museums, which 25 Research: African Art Exhibition of 1923, accessed 21 January 2020, https://www.brooklynmuseum.org/opencollection/research/pna1923. Collections and exhibitions of African art after World War II While Ghana created museum exhibitions of African art, American and European museums, 32 SIARCHIVES, accessed 21 January 2020, https://siarchives.si.edu/history/national-museum-african-art. famous and controversial exhibition, Primitivism in 20th Century Art at the Museum of Modern Although nowadays African art is very often presented in museums A. Pawłowska: African Art: The Journey from Ethnological Collection... A. Pawłowska: African Art: The Journey from Ethnological Collection... A. Pawłowska: African Art: The Journey from Ethnological Collection... A. Pawłowska: African Art: The Journey from Ethnological Collection... A. Pawłowska: African Art: The Journey from Ethnological Collection... A. Pawłowska: African Art: The Journey from Ethnological Collection... work_vzgf2ojxujde7k7v5usjtyg5ve foundation of the art by the ''incomparable talent'' Swedish artist Isaac Grünewald teacher Henri Matisse (1869–1954).1 This is one of several examples of Nordic avantgarde artists who are compared to the international avant-garde in Hintze''s art and anti-Semitic rhetoric, but in Swedish and Finnish art historiography Hintze has In Swedish and Finnish art historiography, anti-Semitism generally seems to argue that Hintze''s book, with its anti-Semitic rhetoric, is typical of the early will mainly put Hintze''s modern art history in a Swedish context.20 Grünewald enriches Swedish modernism with his colourful and exotic art, but as a 49 The first article on early twentieth century Swedish art published in an academic journal The anti-Semitic rhetoric in Bertel Hintze''s art historical survey of modern art We can find anti-Semitic expressions even in the earliest reviews of Grünewald''s art, In the early twentieth century nationalistic art-critical discourse, an artist work_w5keigit55h2baapmj7a4mgbrm This work highlights the rediscovery of the technique of reverse glass painting by the artists of the "Blaue Reiter" collective in the early 20th-century and focusses particularly on the role of Wassily Kandinsky (1866–1944). multi-analytical, non-invasive approach [X-ray fluorescence (XRF), diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS), VIS spectroscopy (VIS), Raman spectroscopy] was taken to identify the pigments and classify the Rudern indicates an early use of this material for reverse glass paintings. Keywords: Kandinsky, Reverse glass painting, Non-invasive analysis, Pigment identification, DRIFTS, Synthetic organic Traditional 19th-century reverse glass paintings reveal characteristic features like two-dimensional areas of unbroken For example, Kandinsky created two analogies of the reverse glass painting Allerheiligen I (1911) II, Rudern, Apokalyptische Reiter II) by Wassily Kandinsky (Fig. 1), housed in the Städtischen Galerie im Lenbachhaus und Kunstbau in Munich, were examined 1914 and was the last reverse glass painting that Kandinsky created in Murnau. work_wepcc2uehrdjpgy2hh77oyam54 gardens/ landscapes where plant life forms of natural processes and plant plants/URBAN ECOLOGIES plants/URBAN ECOLOGIES "Performing Weeds: Gardening, Plant Agencies and Urban "Performing Weeds: Gardening, Plant Agencies and Urban "Performing Weeds: Gardening, Plant Agencies and Urban "Performing Weeds: Gardening, Plant Agencies and Urban "Performing Weeds: Gardening, Plant Agencies and Urban "Performing Weeds: Gardening, Plant Agencies and Urban Design, Ecology and Management of Naturalistic Urban Planting, edited by Design, Ecology and Management of Naturalistic Urban Planting, edited by Design, Ecology and Management of Naturalistic Urban Planting, edited by Design, Ecology and Management of Naturalistic Urban Planting, edited by Design, Ecology and Management of Naturalistic Urban Planting, edited by Design, Ecology and Management of Naturalistic Urban Planting, edited by Planting in Urban Landscapes." In The Dynamic Landscape: Design, Ecology Planting in Urban Landscapes." In The Dynamic Landscape: Design, Ecology Planting in Urban Landscapes." In The Dynamic Landscape: Design, Ecology work_wldge5m7xzadvmimvyo534snmm mano il lettore, e attraverso l''udito, la vista ed il pathos, cerca, di diffondere una nuova concezione percettiva dell''Architettura, nella quale le ragioni compositive sono dominate non soltanto dalla precisione "la disposizione delle immagini e dei testi che compongono il Poème non è una semplice successione All''interno dello spazio sacro del tempio, l''iconostasi rappresenta l''idea di una gerarchia sacra, di I ragionamenti così ottenuti da Le Corbusier nel "Poème de l''Angle Droit", "incisi" su carta in una raccolta Assieme ai cinque punti dell''architettura e agli assiomi del Modulor, i postulati messi in metrica contenuti nel Poème de l''Angle Droit, esprimono per Le con Le Corbusier: Il Modulor "è una scala di proporzioni che rende il male difficile, e il bene facile"6. Droit: un poema abitabile, una casa poetica, in Le Corbusier, Le Poème de l''Angle Droit, Verona 2007 2 Juan Calatrava, in Le Corbusier, Le Poème de l''Angle Droit, Verona 2007 work_wxzkefgxczczjdzhtkiwlv6lcm enables Stein "to find a place for herself in the tradition of patriarchal poetry" (1). While Dickie demonstrates that Stein herself writes patriarchal poetry, rather than simply protesting against masculine tradition, it does not follow that Stein "identifies with the patriarchy," Dickie maintains that Stein''s "coded language" provides a means "to conceal her subject from an audience unaware of the code and further afford[s] her an In the dismissal of identity and memory in Patriarchal Poetry, Stein Stein''s assiduous disarticulations of patriarchal poetry are also different articulations of Stein''s designation, "human mind," suggests, this also means In Stein''s Patriarchal Poetry, the traditional forms of versification play across the text in permutation. "Patriarchal poetry," Stein claims, "more than wishes," but The question that Stein poses in Patriarchal Poetry, "Is he fond woman writer can produce patriarchal poetry and that Stein "Patriarchal poetry," Stein tells us, "makes no mistake" (576): work_x4xzk3ez2zewlfyg2ephkegoqm Note: The 5% level displays a significant difference between the two Kompas segments Modern and social values, different stylistic approaches Kompas Value Map (Table 6) to the Table 1: Major dimensions across different value systems Figure 2 The location of the 23 statements from the original Kompas system in the two-dimensional modern/traditional individual/social space (note two statements fall outside the diagram). theory, news items, existing value Figure 3 34 statements plotted along the two major dimensions (individual/social and modern/traditional) Figure 4 16 items distributed along the two Kompas dimensions Table 3: Classification of respondents based upon the old and new Kompas statements Table 4: Segments with the highest and lowest frequency of use or possession in the old and new Kompas Figure 5 Definition of nine segments in the old Kompas Figure 10 Kompas value map. Table 6: The four highest loading questions in a ten-factor value solution based upon 125 statements (the work_x5tggs6f5fhwvbzukdjml34vga dado por Lev Vigotski (1896-1934) à noção de "drama" em vinte e duas obras suas a que tivemos acesso até o momento (artigos, capítulos Em geral, a noção de "drama" em Vigotski varia entre duas acepções principais: (1) uma mais coloquial, por exemplo: "o desenvolvimento humano como drama (peça teatral) em vários atos"; e (2) outro mais específico, destacando numa ação "dramática" dois aspectos: 2.1 um ato de decisão humana sobre a condução de seu destino histórico; 2.2 o choque entre diferentes papéis que cada um caminho vital ou outro num dado contexto histórico-cultural – desde o mais corriqueiro até aquele no qual pode estar envolvida uma drama en muchos actos", por ejemplo; y (2) un acto de volición, decisión humana entre diferentes roles sociales que cada Esta, por sua vez, ainda está por constituirse, já que "se parecerá tão pouco com a atual, como, que mesmo dizer "a vida como tal" já é fazer uma work_xdpa5nwz5zhfnluz4osqansnty 독일은 19세기 후반기에 통일을 이루었지만 격한 도시화와 물질주의 속에서 많은 혼란을 겪으며, 정 신화, 상징을 거친 붓 터치와 풍부한 색채 등으로 다시 화면에 등장시키며 독일의 문화와 사회에 한 expressionist art has returned in latter 20th century mainly centered on Germany, and this 이러한 독일의 변화 속에서 최근 유럽미술에 서는 이러한 도시화와 물질주의가 비독일 인 것으로 그들은 자신들의 작품이 재와 미래를 잇는 다리 지니는 강렬한 색채와 단순화된 형태 그리고 평면 화 는 새로운 국제 미술의 흐름을 하게 되었다. 청기사 화가들은 술의 미래에 한 믿음을 갖고 독일의 신표 주의는 양식 인 면에서 과거의 독일 이는 재 으로서 미술의 복귀이자 새로운 형 다. 이 당시 독일의 통 미술은 추상 미술에 비해 시 작품은 독일의 낭만주의 통과 표 주의 통을 이어 이들은 자신들의 내 감정을 나타내기 해 거 한 캔 두 미술 사조는 독일의 낭만주의 미술의 통성을 이 들이었으며 이러한 강인함이 바로 독일의 통성을 잇 록 신표 주의가 독일의 통 미술을 계승하고 있지만 work_xftlvbuar5hnxa5ldohw6z2zmy Opening of the exhibition of Parmigianino''s (1503–1540) Antea from the Museum of Capodimonte in Naples in the Frick Collection of New York. The granddaughter of Victor von Klemperer asked the Berlin art gallery and auction house Grisebach, which sold her grandfather''s Max Liebermann (1847– The fifth meeting of the Interpol Expert Group (IEG) on Stolen Cultural Property was held in Lyon, France, and passed a recommendation on a close cooperation between Interpol, UNESCO, and International Council of Museums (ICOM) Sotheby''s Russian art auction in New York achieved respectable totals largely because of nineteenth-century paintings that did well. Sharjah, United Arab Emirates, opened a new Museum of Islamic Art with a loan Christie''s of London sold paintings from the Prince of Liechtenstein art collection. Philadelphia Museum of Art. Frankfurter Allgemeine Zeitung, 14 May 2008, p. in Berlin, was exhibited in the Museum of Modern Art in New York. work_xfy6bpxbrbdxxc34453jiwulp4 For the non-scientific, public at large, including artists, soil is mainly the surface posure of soil that includes a strange large root: (http://en.wikipedia.org/wiki/St._John_ Racek in Austria (Szlezak, 2009), or the soil painting program at the Museu de Ciências da Terra Alexis Dorofeef (Earth Science Museum) in Brazil (Muggler, 2013). Day (1932) is well-known to soil scientists all around the world (see: http://www. "emergence of soil art," in that it gives artists new tools for exploring our relationships http://www.artgallery.nsw.gov.au/exhibitions/new-contemporary-galleries/featured-artists-and-works/anselm-kiefer http://www.artgallery.nsw.gov.au/exhibitions/new-contemporary-galleries/featured-artists-and-works/anselm-kiefer http://www.artgallery.nsw.gov.au/exhibitions/new-contemporary-galleries/featured-artists-and-works/anselm-kiefer Another example of immersive installation soil art explores the more porous, creating dialog on both film as an art form, and on soil as a component. Paintings of soil profiles used by A. Paintings of soil profiles used by A. Paintings of soil profiles used by A. From beginning of 20th century -teaching the soil: from science to art From beginning of 20th century -teaching the soil: from science to art work_xhnc2y7cc5fl7conrtd7bj2uei ABSTRACT: This study investigated the drawing processes of a Chinese ink painter through field observation, interviews, and a field experiment. painter to draw 16 pictures in a field experiment (8 created from random lines that the audience drew and 8 drawing and forced him to create a new style of pictures, and (c) the painter moved his brush in the air before actually drawing lines on the paper. artist at work, this study focused on the following general questions: (a) processes of image generation in an If so, it is necessary to observe online creative processes of artists at work to investigate the relationship between cognition and body The authors present a field case study based on observations, interviews, and a field experiment with detailed cognitive There were two data sets in this field study: (a) process data of a fusuma drawing in a temple and (b) data work_xj23nld4g5bvtmbyl3epakp2pi of art''s own "corporealisation" or becoming body, and neo-avantgarde movements'' development of life performances. the resources of biopolitical theory are used to critique the separation of the artist''s appearance from their own powers of self-affection fixing them as a creative yet static "form of life" within these Neoliberal institutions; financialisation; creative life; biopolitics; York artists in the 1950s and ''60s also helped to create a new fascination for artists'' studios and lives among the art-interested public As Zukin''s remarks make evident, we can trace such institutional framing of artists as creative in themselves back to art''s internal material, articulated and set into doubt the static form of life allocated to them according to the intersecting social matrices of gender, these art/life performances opened up the prospect of reworking the endless work of artistic life: by an institutional reflex that creates artistic life as "only work"? work_xl77onuthnef3af4gzrqeolluq Fig.1, Henri Matisse, The Codomas, 1947, Paris, Tériade, in ''Jazz'', 78–79, (© Succession H. a book, created by the Germans and widely publicised and distributed in France at the time Matisse Matisse used the name Codoma instead of Codona in the caption of his image Of The Codomas, I argued "This image references a wellknown circus family called the Flying internationally acclaimed troupe of trapeze artists called The Flying Codonas, a circus troupe who This research confirmed that the Codona acrobatic family were well known in Paris and performed Although Lalo''s tragedy occurred five years before Matisse created The Codomas, the saga of The Fig.2, Henri Matisse, "Table of Images" 1947, Paris, Tériade, in ''Jazz'', 150–151, (© Succession H. The image title was not the only error in The Codomas to have escaped Matisse''s attention. As the above discourse reveals, Matisse''s image caption of trapeze acrobats, The Codomas, the work_xmkjis5dtjcqribkw7omt3eqtu (Japan Art Institute), a non-governmental Japanese-style painting organization, dedicated representations of space, time, and the human body in Japanese wartime paintings, this Japanese war art, more specifically, in Fujita Tsuguharu''s paintings. Regarding 1930s Japanese-style paintings of modern girls more broadly, art historian machine art, and New Objectivity—are different from the Japanese-style paintings of the Japanese-style painting (Nihon-ga) is a genre established by nationalist art critic political ends in Japan and suggest that the Japanese-style machine-ist paintings should Japan in the 1930s, when the Japanese-style machine-ist paintings were produced, Chaplin in his film Modern Times produced in 1936, just when Japanese-style machineist paintings were being produced in Japan. A group of 153 war paintings stored at the National Museum of Modern Art, Tokyo, German Nazi art and Japanese war art is where Japan could maintain its own national Women Painted in Japanese Modern Art: Shōen and the World of Beautiful work_xofl75h6r5ehndm5tdobnb3lwa This article illustrates how the paintings of visual artists activate multiple brain processes that contribute to their conscious perception. were chosen to illustrate processes that range from discounting the illuminant and lightness anchoring, to boundary and texture grouping and classification, through filling-in of surface brightness and This article accordingly describes illustrative paintings or painterly theories of ten artists in light of neural models such as the Form-And-ColorAnd-DEpth (FACADE) model of 3D vision and figure–ground perception vision—boundaries and surfaces—as can a wide range of other scenic properties, including 3D shape, boundary groupings, texture, shading, color, brightness, and object identity. This is true because boundary completion and surface filling-in have been demonstrated by neural models and supportive data to obey computationally complementary properties across a scene that could cause wildly unstable shape and color percepts, feature contours are computed at positions where luminance or color contrasts and Schumer, 1981; Kulikowski, 1978; Richards and Kaye, 1974; Schor and work_xs2bd3axord5vpa3w4oe4kh2iq Çağdaş Türk Resim Sanatında önemli bir yere sahip Neşet Günal''ın artist Neşet Günal''s interpretation of Anatolian people in his works. Neşet Günal produced social realist works of art, making people the sunmuşlar ve temayı vurgulayan sanatçılar Çağdaş Türk Resim sanatında önemli bir yer işgal Resim 6'' da Neşet Günal, çoklu figür kompozisyonunda çocuklu bir ailenin bağ bozumu Çağdaş Türk Resim Sanatında Anadolu İnsanı Yorumları: Neşet Günal Örneği 91 Çağdaş Türk Resim Sanatında Anadolu İnsanı Yorumları: Neşet Günal Örneği 91 Çağdaş Türk Resim Sanatında Anadolu İnsanı Yorumları: Neşet Günal Örneği 91 Çağdaş Türk Resim Sanatında Anadolu İnsanı Yorumları: Neşet Günal Örneği 91 Çağdaş Türk Resim Sanatında Anadolu İnsanı Yorumları: Neşet Günal Örneği 91 Çağdaş Türk Resim Sanatında Anadolu İnsanı Yorumları: Neşet Günal Örneği 91 Çağdaş Türk Resim Sanatında Anadolu İnsanı Yorumları: Neşet Günal Örneği 91 Çağdaş Türk Resim Sanatında Anadolu İnsanı Yorumları: Neşet Günal Örneği 91 work_y42a4nbndnbzljk5umufzjodta My Name Is Red. Pamuk''s work clearly suggests parallels between the Middle Eastern miniature tradition and 20th-century Western philosophy of We read in My Name is Red that a miniaturist needs to paint the same figure over and over again to achieve a depiction that is "perfect"‚ or in accordance with God''s perception. According to the miniature tradition described in My Name is Red, going blind after having devoted a lifetime to painting is reason to be proud. It is believed that God''s vision or perception of the world can be manifested only through the memory of a blind miniaturist. As Pamuk puts it, "a blind miniaturist could see the horse of God''s vision from within the darkness; however, true talent resided in a sighted miniaturist who could regard the According to Merleau-Ponty, through painting, Cézanne articulates what What Merleau-Ponty sees in Cézanne''s paintings is an ul- work_yc365vslyrdulcm7u7roacikku Splendide Californie!: Selections by French Artists in California History, 1786-1900 | California History | University of California Press Skip to Main Content Close mobile search navigation Article Navigation Article Navigation Splendide Californie!: Selections by French Artists in California History, 1786-1900 Search for other works by this author on: Views Icon Article contents Share Icon Tools Icon Cite Icon Search Site Claudine Chalmers; Splendide Californie!: Selections by French Artists in California History, 1786-1900. California History 1 December 2000; 79 (4): 154–179. This content is only available via PDF. 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Sign In or Create an Account work_yhxp7da7bfho7jij23vg5bwfdq In this article we explore the practical use of medialness informed by perception studies as a representation and processing layer for describing a class of works of visual art. first published in 1954, Arnheim proposed to model the creation and perception of visual pieces via a tension field (Note 7) whose main force lines constitute what he calls the ''structural skeleton'' of a painting, drawing, or sketch This leads them to hypothesize a medial-based shape processing method for human vision, which is in part inspired by the original proposal made by Harry Blum (Blum, 1973). We have designed in recent years a computational scheme which brings together the two main representations of 2D objects known to play an important role in visual perception, in the understanding of human vision neural computational scheme to systematically map visual contour traces to a medialness map which is then further processed to identify feature points of three work_ym2xu2agbndrles33ojwjv26fm com a explosão dos estilos pós-modernos nas artes e com os debates filosóficos e centralizado, inclusive por culturas que nunca tiveram uma história da arte. arte passou a não mais dar conta dos novos desenvolvimentos artísticos que deles sugerir que não haveria mais arte, mas, ao contrário, chamar atenção para Para o autor, "toda obra de arte verdadeira é um não objeto e esse Hoje ninguém mais ousa propor o que pode ser uma arte "verdadeira". paisagem dos anos 1980, pois é na irrupção da pós-modernidade que a arte Foi nas artes que essa diversidade se fez mais sentir instabilidades, como uma prática do paralogismo, no qual o que se enseja não é a concordância, mas minar por dentro a moldura ela mesma e a incerteza em relação ao que pode ou não ser definido como arte. mutações por que tem passado a tradicional dinâmica do mercado das artes. work_ymrfq2x54vbrxpaj6zsy6nfrzq The financial crises hit museums, universities, art galleries, auction houses, collectors, and state budgets. art collections (Frankfurter Allgemeine Zeitung, 28 January 2009, p. The United States, Italy, and other European countries were reducing the budget for culture (The Art Newspaper, February 2010, Opening at the Musée Jacquemart-André in Paris of an exhibition of the collection of old Italian masters of the thirteenth to fifteenth century kept in the museum in the Jewish Museum in New York showing the paintings returned to the heirs of A Moscow court began hearing the criminal case of the Russian state against Andrei Erofeev, former head of the Tretyakov Gallery''s contemporary art department, and Yuri Samodurov, former director of the Sakharov Museum and Public (1860–1949) opened after having been shown in the Museum of Modern Art New The Museum of Modern Art in New York opened the exhibition Tim Burton with work_yoxxqtpbzrgu3hlru3s7oe2acy Transforming Pain into Beauty: On Art, Healing, and Care for the Spirit From drawing to sculpture, poetry to journaling, and dance to music and song, the arts can have a major impact on patients'' spiritual Through creative expression, patients regain a feeling of wholeness, individually and as part of the larger world. paper provides a model for arts-based spiritual care (chaplaincy) in oncology/hematology and elsewhere. the art form intervention to the individual patient and give examples of many kinds of uniquely spiritual arts-based interventions. model of arts-based spiritual care bridges the experience of the caesura to a renewed sense of meaning, or spiritual reorientation, When that experience of merging ends, patient and spiritual caregiver often of the healing nature of the arts in spiritual care and the The integration of arts into spiritual care offers a means R. Lane, "Creativity and spirituality in nursing: implementing art in healing," Holistic Nursing Practice, vol. work_ytqea63bhvchzcayfpprrow76a is different from the space of the art object, is completely contraindicated in the critical consensus on Stein (a consensus that begins with Lewis himself). In the third section, I show how The Childermass is an articulate dramatization of time-philosophy in painting, and thus an excellent example of Lewis''s aesthetic theory put into novelistic practice.5 the "Affective Fallacy," that situation where the "poem itself, as an object of specifically critical judgment, tends to disappear" in the surge of the reader''s emotional response.26 It might appear, therefore, that Stein''s theory of poetic meaning resembles by Salvador Dalí or the painting Pullman and Satters walk through—is a social phenomenon as opposed to an aesthetic one.37 As Lewis puts it, time-art "no longer stands In fact, Lewis''s condemnation of The Childermass painting as a "time-hallucination" takes Stein''s theory and expands on it. work_yzxameipfze73ajyg6yyx6yofu por los autores, por lo que en un principio las revistas ofrecían resúmenes una de las revistas académicas más antiguas en Hispanoamérica y que aún las ciencias exactas han marcado la forma en que se deben elaborar los a una determinada idea del saber científico que encuentra en este tipo de Las características del paper, por lo tanto, no deben extenderse a todo tipo lo largo de las primeras cinco décadas del siglo xx, se advierte que la mayoría actual, sino que, por el contrario, permite observar cómo las disciplinas se libre y gratuito a los artículos y a las revistas científicas, que imponen Por las razones expuestas, es posible focalizarse en el discurso académico como los autores que pueden ser considerados parte de este movimiento, como es considerado por la crítica como el maestro del criollismo y en este discurso de los enunciados que componen este discurso, donde se destaca el uso del work_z2xuknmmjbgevhg5bmasngcmci dat abordează procesul tradiţiei din perspectivă duală: tradiţia-valoare şi tradiţia-proces, iar scopul demersului ştiinţific constă în analiza fenomenului tradiţiei prin relevarea acţiunilor de continuitate a tradiţiei. aceeaşi ordine de idei, tradiţia reprezintă partea activă a moştenirii culturale, ceea ce rămâne viu din înţelegerea acestui construct din perspectivă teoretică este nevoie de o distincţie duală: tradiţia-valoare şi Astfel percepută, tradiţia-valoare presupune continuitatea faptelor culturale în timp, favorizând trecutul, un trecut normativ, auroral, care oferă modele Ana Iuga, studiile care se apleacă asupra tradiţiei-valoare prezintă o limitare, prin lipsa de interes faţă de este un fenomen cultural ce face parte din tradiţie [6; Prin urmare, tradiţia proces tezaurizează şi acumulează valorile, reţine ceea ce este durabil din punct tradiţiei covorului basarabean cu scopul de a reitera modul şi direcţiile evolutive ale covoristicii tradiţionale, în contextul în care de-a lungul timpului care se degajă din textul de mai sus, şi anume că, prin work_z4q52f6clzchvc52apjamqwkmm and!contemporary!use!of!perspective!in!painting!from!the!Byzantine!period!to!the! which!I!developed!a!new!perspective!in!painting!that!I!have!termed!''Mutative! perception!of!space!and!depth;!these!elements!are!an!active!part!in!the!painting,!visually! elements!such!as!familiar!forms,!symbols,!and!text!to!disrupt!an!abstracted!painting! My!process!of!Spatial!Painting!and!the!Mutative!Perspective!engages!with!our!current! investigations!have!lead!me!to!create!18!Spatial!Paintings,!which!take!over!walls,!spaces! and!environments,!as!well!as!46!paintings!on!canvas!and!innumerable!works!on!paper.! achieve!this!affect?!I!researched!painting!methods,!forms,!colours!and!materials!to! Fig.!4:!My!book:!Claudia!Chaseling!–!Spatial!Painting,!2016! 3!Benedikt!Stegmayer!et!al.,!Claudia!Chaseling!–!Spatial!Painting!(Berlin:!Verlag!fuer!Zeitgenoessische!Kunst! on!both!the!material!aspects!of!painting!–!colour,!surface!and!form!–!and!the!narrative! work;!these!are!discussed!respectively!in!the!chapters!of!this!thesis:!Spatial!Painting,! Fig.!5:!symbiosis!was!long!ago,!2012,!egg!tempera!and!oil!on!wall,!floor,!canvas!and!concrete!objects,!! or!taking!on!a!new!form!to!provide!a!different!sense!of!space.!As!such,!my!painting! 5!Erwin!Panofsky,!Perspective!as!Symbolic!Form!(New!York:!Zone!Books,!1991),!p.!13.!Translated!by! Interview,!ed.!Lucy!R.!Lippard,!Art!News,!7!October!2015,!''All!I!want!anyone!to!get!out!of!my!paintings!is!the! Spatial!Painting!in!the!context!of!contemporary!art!theory.!The!thinking!offered!by! painting!perspective!do!I!need!to!subvert!in!order!to!achieve!a!new!sensual!reality!in!the! investigate!the!use!of!negative!shapes!in!works!by!early!modern!artists,!focusing!on!Paul! 19!Bojana!Pejić,!"The!Day!Before!Tomorrow,"!in!Claudia!Chaseling!–!Spatial!Painting!(Berlin,!Germany:!ed.! This!chapter!deals!with!my!Spatial!Painting!practice,!my!artistic!intentions!and!my! working!method.!Spatial!Painting!reaches!beyond!the!canvas!and!is!simultaneously! viewer.''As!a!term,!''Spatial''!refers!to!the!space!becoming!part!of!the!painting''s! My!principle!aim!has!been!to!investigate!the!paradox!between!painting!abstract!forms! work!of!art,!be!it!painting!or!object,!the!narrative!potential!of!the!text!which!had!been! content!of!the!work.!However,!can!the!dynamic!of!the!painted!abstract!transmit!an!exact! work!Murphy!–!A!Parallel!Universe!within!a!Spatial!Painting.!I!will!go!onto!discuss!the! and!largeRscale!paintings!on!canvas,!walls,!floors!ceilings!and!concrete!objects.!I!also! blender28!was!my!first!work!that!fused!my!graphic!novel!with!a!Spatial!Painting.!This! though!abstract!means:!thus,!mind!and!form!melt.!My!Spatial!Paintings!can!adapt!to! reverse!form,!which!is!seen!in!Byzantine!Icon!paintings.!The!key!focus,!for!me,!is!to! conventional!Western!understanding!of!space.!Through!painting!I!aim!to!show!a!new! representing!space.!Central!perspective!is!still!used!in!contemporary!art,!particularly!in! Sometimes!the!Spatial!Paintings!simply!comprise!pigment,!egg!tempera!and!aluminium! work,!so!that!from!this!point!the!threeRdimensional!painting!in!the!space!will!seem!flat,! In!the!Spatial!Paintings!I!apply!reverse!and!parallel!perspectives,!a!representation!of! space!I!researched!in!Byzantine!icon!painting.!In!doing!so,!I!negate!the!central! reverse!central!perspective.!This!technique!works!for!all!shapes!and!the!result!is!that! subject!matter.!Each!Spatial!Painting!has!its!content!and!an!atmosphere!that!reflects!this.! I!define!a!composition!in!the!space!in!the!same!way!that!all!paintings!create!a! Fig.!21:!mutating!tomatoes,!2013,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!! In!the!Spatial!Painting!mutating!tomatoes!my!aim!was!to!erase!the!corners!of!the!space,! reading!of!space.!Depth!in!many!Byzantine!painting!was!created!out!of!colour!and!also! them!in!my!work.!However,!the!resulting!Spatial!Painting!is!never!a!copy,!a!place!or! was!depicted!within!a!single!fresco!painting.!What!perspective!did!the!painters!use;! viewpoint!the!artist!wanted!the!viewer!to!stand.!I!studied!the!painted!geometric!forms,! in!relation!to!my!painting!technique!upon!walls,!floors!and!ceilings!and!art!history.!In! The!use!of!central!perspective!is!still!present!today!in!lots!of!contemporary!art.!I!aim!to! into!imaginary!spaces.37!This!awareness!drives!my!painting.!Essentially,!I!create!colour! to!create!an!atmosphere!using!abstraction.!My!wall,!floor!and!ceiling!paintings!are! Creating!a!sense!of!depth!by!painting!the!surface!is!a!key!element!of!these!works!on! responded!to!the!long,!rectangular!space,!egg!tempera!painted!along!the!walls!of!the! flat!surface!plane!of!the!canvas!using!colour!and!form,!also!painting!within!threeR The!materiality!of!the!paint!that!I!use!has!a!defining!role!in!my!work.!For!example,! colour!of!the!respective!linoleum!floors.!I!painted!black!ink!forms!on!the!wall!and,! In!2016!I!worked!on!a!collaborative!Spatial!Painting!with!the!artist!Milovan!Destil! Fig.!50:!it!goes!deeper,!2012,!egg!tempera!and!oil!on!wall,!floor,!ceiling,!canvas!and!concrete,! 47!Erwin!Panofsky,!Perspective!as!Symbolic!Form!(New!York,!USA:!Zone!Books,!1991),!p.!13.!Translated!by! Parallel!and!reverse!perspective!in!icons!emphasise!the!subject!of!the!painting!and!don''t! forms,!silhouettes!and!colour!to!become!their!own!reality.62!The!painted!objects!are!not! Florensky!states!that!the!best!works!of!art!in!western!painting!diverge!from!the!imposed! Fig.!58:!Murphy!and!other!mutants,!2013,!aluminium,!ink,!egg!tempera!and!oil!on!wall,!floor,!ceiling,!paper! plane,!the!space!in!which!my!work!is!situated,!the!pigments!with!which!I!paint,!shapes! for!further!perspectives!and!for!painted!forms!in!space.! who!since!1978!has!used!a!technique!he!calls!''painting!in!space''88.!Geometric!forms!are! space.!In!the!end!the!painting!creates!its!own!dialogue!with!the!architecture!and!forms! defines!every!element!of!his!work:!location,!history,!painting!in!the!space,!the!photo!and! the!perspective!he!uses!to!take!the!photo.!In!contrast!to!my!Spatial!Paintings,!the! points!out!that!the!negative!spaces!coming!from!the!wall!behind!the!collaged!painting! 93!There!are!many!other!contemporary!artists!whose!works!explore!extended!painting!–!those!include! In!Chapter!1,!I!discussed!the!painting!blender.!In!this!work!I!had!used!aluminium! with!a!thickness!of!0.1!mm!the!best!fit!for!my!work:!I!can!still!form!it!like!painted!shapes! distortion!to!the!work.!Continuing!from!this!discovery!I!created!several!Spatial!Paintings! Fig.!70:!cloud,!2014,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!300!x!1000!x!300!cm,! Fig.!71:!cloud,!detail,!with!painting!on!canvas!mutant!1,!2013,!egg!tempera!and!oil!on!canvas,!150!x!150!cm! biomorphic!abstraction!of!the!painted!shapes!and!the!rigid!traditional!form!of! vacuum!of!a!negative!space!in!a!painting!could!be!seen!as!antiRlinear!perspective,!an! eggs!shape,!but!a!traditional!canvas!with!round!edges!and!reverse!perspective!being!part!of!the!form!of!the! canvas,!not!just!painted!reverse!perspective.!I!will!again!mention!Lucio!Fontana!in!the!subchapter!Infiltrated! radioactivity!in!my!Spatial!Paintings:!through!areas!of!negative!shapes!infiltrating!my! formed!grids.!These!paintings!were!often!''gridded''!with!gaps.!In!my!recent!works!I!use! I!resolved!some!of!my!ideas!about!negative!spaces!in!the!Spatial!Painting!carousel! used!negative!shapes,!and!how!researching!their!work!has!altered!my!own!painting! edges!carry!colour!and!the!negative!space!becomes!the!active!part!in!the!work!of!art;! been!painting!since!the!1990s,!he!fragments!cityscapes!creating!a!new!picture.!His!work! Franz!Ackermann!paints!beyond!the!canvas!and!extends!his!work!onto!the!wall.!He! paintings.!I!create!negative!shapes!using!two!main!approaches:!one!for!working!on! way,!the!colours!and!forms!of!the!earlier!painted!composition!surface!again.!Like!a! painted!areas!with!each!other.!The!colour!of!negative!unpainted!shapes!of!the!wall! works,!an!aim!of!my!research!has!been!to!find!a!way!to!create!a!painted!space!that! materials!–!an!oval!shaped!painting!on!paper,!bits!of!cut!aluminium!and!the!wall,!floor! perspective!and!combining!narrative!images!of!photos,!paintings!or!text!to!largeRscale! spatiality,!which!is!initiating!a!new!perspective!in!art!that!is!located!between!reflection,! aims!to!create!new!forms!of!painting.!He!influenced!techno!music!and!marked!the! paintings!on!canvas.!Looking!at!his!work,!the!subject!is!readily!perceived!from!slogans,! surrounding!us.!The!resulting!works!can!take!any!form:!a!traditional!canvas!painting,!or! 115!Peter!Osborn,!"Modernism,!Abstraction,!and!the!Return!to!Painting,"!in!Thinking!Art:!Beyond!Traditional! 115!Peter!Osborn,!"Modernism,!Abstraction,!and!the!Return!to!Painting,"!in!Thinking!Art:!Beyond!Traditional! nature!drives!my!use!of!perspective!in!painting.!I!am!demonstrating!in!two!and!threeR when!I!work!with!particular!contemporary!subject!matters!in!painting,!like! When!I!have!started!working!on!my!Spatial!Paintings!in!which!I!used!biomorphic!forms!I! work!of!art!–!namely,!the!painting.!For!me,!the!rainbow!presents!a!dialogue!between!the! The!forms!and!structures!I!use!in!my!painting!language!are!influenced!by!nature.!One!of! Fig.!115:!mutative!perspective!painting,!2014,!68!projects,!Berlin! the!painting!I!need!to!point!directly!to!the!subject!matter!of!the!work.!I!defined!my!next! intuition!and!imagination.!My!starting!point!is!to!use!forms!in!painting!which!result! Fig.!117:!end!of!story!F!we!use!it,!2018,!leaf!aluminium,!egg!tempera!and!oil!on!canvas,!oviform!150!x!100!cm! The!use!of!text!in!my!work!is!linked!with!my!abstract!painting!language.!In!small! paintings.!The!speech!bubbles!seem!like!another!abstract!form,!but!one!that!gives!space! matter!of!radioactive!contamination!is!my!use!of!aluminium!in!painting.!I!investigate!the! For!my!last!series!of!paintings!created!for!my!PhD!I!will!also!use!gold!leaf.167!The!work! one!of!the!largest!shapes!in!the!work.!Looking!at!the!painting!I!can!see!the!plane!only! this!methodology!to!my!paintings!on!canvas,!but!working!within!an!expanded! construction!of!the!work.!The!appearance!of!the!painting!creates!a!new!reality!beyond! practice!of!painting!in!a!threeRdimensional!space!to!investigate!how!abstraction!in! painting!can!transmit!subject!matters!that!often!exist!beyond!specific!spaces.!!! Throughout!my!research!I!have!created!18!Spatial!Paintings,!which!take!over!walls,! spaces!and!environments,!as!well!as!46!paintings!on!canvas!and!innumerable!works!on! Some!paintings!on!canvas!strongly!implement!reverse!perspective,!for!example!mutant! biomorphic!abstract!paintings!in!form!of!text.!In!2015,!I!began!including!within!the! same!time,!the!figural!and!abstract!forms!in!my!paintings:!! of!Painting,!in!1966."!Interview,!edited!by!Lucy!R.!Lippard,!Art!News.!Accessed!October! National!Gallery!of!Art.!"Claude!Monet!The!Series!Painting."!Accessed!February!17,!2017.! National!Gallery!of!Art.!"Claude!Monet!The!Series!Painting."!Accessed!February!17,!2017.! Osborn,!Peter.!"Modernism,!Abstraction,!and!the!Return!to!Painting."!In!Thinking!Art:! Fig.!7:!9!out!of!10,!2016,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!330!x! Fig.!7:!9!out!of!10,!2016,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!330!x! Fig.%23:"time%machine,"2012,"egg"tempera"and"oil"on"wall,"floor"and"canvas,&350&x&220&x& Fig.%23:"time%machine,"2012,"egg"tempera"and"oil"on"wall,"floor"and"canvas,&350&x&220&x& Fig.%36:"Arilje!Monastery,+Serbia,+fresco+painted+with!reverse%perspective,%p.%38! Fig.%36:"Arilje!Monastery,+Serbia,+fresco+painted+with!reverse%perspective,%p.%38! Fig.%44:%infiltration,"2012,"ink,"egg"tempera"and"oil"on"wall,"floor,"canvas"and"paper,&350&x& Fig.%44:%infiltration,"2012,"ink,"egg"tempera"and"oil"on"wall,"floor,"canvas"and"paper,&350&x& Fig.%46:!carousel,!2014,&&aluminium,&egg&tempera&and&oil&on&wall,&floor&and&canvas,&340&x& Fig.%46:!carousel,!2014,&&aluminium,&egg&tempera&and&oil&on&wall,&floor&and&canvas,&340&x& Fig.%49:"fish,"2013,"aluminium,"egg"tempera"and"oil"on"wall,#floor#and#canvas,#200#x#220#x# Fig.%49:"fish,"2013,"aluminium,"egg"tempera"and"oil"on"wall,#floor#and#canvas,#200#x#220#x# Fig.%70:"cloud,"2014,"aluminium,"egg"tempera"and"oil"on"wall,"floor"and"canvas,"Mural& Fig.%71:!cloud,"detail,"with"painting"on"canvas"mutant&1,"2013,"egg"tempera"and"oil"on! Fig.%73:"inquisition,"2016,"ink,"aluminium,(egg(tempera(and(oil(on(wall,(floor(and(canvas,( Fig.%73:"inquisition,"2016,"ink,"aluminium,(egg(tempera(and(oil(on(wall,(floor(and(canvas,( Fig.%73:"inquisition,"2016,"ink,"aluminium,(egg(tempera(and(oil(on(wall,(floor(and(canvas,( Fig.%88:"involution,"2018,"aluminium,"egg"tempera"and"oil"on"wall,"floor"and"canvas,"260"x" Fig.%88:"involution,"2018,"aluminium,"egg"tempera"and"oil"on"wall,"floor"and"canvas,"260"x" Fig.%88:"involution,"2018,"aluminium,"egg"tempera"and"oil"on"wall,"floor"and"canvas,"260"x" Fig.%88:"involution,"2018,"aluminium,"egg"tempera"and"oil"on"wall,"floor"and"canvas,"260"x" Fig.!103:"Radiationscape,"2018,"aluminium,"egg"tempera"and"oil"on"wall,"floor"and"canvas," Fig.!103:"Radiationscape,"2018,"aluminium,"egg"tempera"and"oil"on"wall,"floor"and"canvas," Fig.%115:"mutative(perspective(painting,"2014,"68#projects,#Berlin,"photo:"Manfred"Haug," 2014!mutative!perspective!paintings,!68!Projectspace,!Berlin,!Germany! work_z5bevyfolvgqrkcyu3oxp6ca4m gardening is one of the most popular home-based leisure activities in the US and represents an important activity in the lives of humanities) examination of the nexus between gardening and the aging experience, and in particular with research connections Second, we will focus on stewardship and how gardening increases health, community In this paper, we review contemporary articles demonstrating the multidisciplinarity of gardening and the aging Humanities Discipline: How Gardens and Gardening Cultivate Caring and a Personal Connection with Life and Nature. for older adults, having a garden to take care of could be stress was found among adults (mean age 57.6) in an experimental study comparing gardening to indoor reading [108]. garden?" Activities, Adaptation and Aging, vol. among older rural adults," Journal of Aging Studies, vol. "Indoor gardening older adults: effects on socialization, activities of daily living, and loneliness," Journal of Gerontological life," Activities, Adaptation & Aging, vol. work_zeqqiyzq6bbuvfyzsse3b7w5gm Keywords: contemporary art; church art; God-shaped hole; situated void; art in churches, using as examples several canonical works by Henry Moore, In this journal''s first issue Rina Arya (2011) drew attention to the spirituality associated, rightly or wrongly, with certain artists working outside like to approach this supposition of a God-shaped hole in art by considering church since it has a spiritual void where God should be, Doig''s argument Those policies that tend to be more conciliatory emphasize the faith placed in the visual arts as a source of spiritual religiously or spiritually inflected art, the question then comes down to the is indeed a God-shaped hole in contemporary art, it is exactly this void or for many contemporary artists producing work for the church, a desire for ''Is there a God-Shaped Hole in the Middle of Modern Art?''. ''Cathedrals, Art and Christian Spirituality''. ''Church Art: Religious Imagination and the Artist''. work_zfktmdjwcjebtaruajnp7rv7fm 176] – the drawing itself has become a means of communication with the world, a mimetic description of events, place of drawing, it is necessary to refer to the etymological source in which Alexander Brückner writes: line and of drawing creates a unique record, its authenticity is revealed in the line, draft, tool used by its author, […] it is Magdalena Ujma w rozważaniach na temat rysunku wręcz twierdzi, że tylko nieliczni potrafią się psychologiczny, twierdząc: […] rysunek nie jest ostatecznie tylko rysunkiem, bez względu na to, jak samodzielny Proces autonomizacji rysunku kształtował się na przestrzeni wieków: Greccy artyści działający w V w. ćwiczeń i tematów znajdują się takie jak rysunek ciałem, Rysunek jako środek poszukiwania formy /The importance of drawing. Rysunek jako środek poszukiwania formy /The importance of drawing. Rysunek jako środek poszukiwania formy /The importance of drawing. work_zhbs72arnfbihotiyt5umcvvji field of painting, I argue that the unstable space can be created solely in the space, it is necessary to overview the history of the window in painting as a framed view through the ''window'' to an exterior space, the painted wall now window through which the subject to be painted is seen."19 As art historian roles that painting and photography play in the representation of space. (London: Tate Publishing, 2009); Gerhard Richter: Doubt and Belief in Painting (New York: The Museum Schneede, "Reality, the Photograph, the Paint, and the Picture," in Gerhard Richter: smeared paint''s material surface to the illusory space of the photograph. artworks, where both the photographic illusion of space and painting''s the representation of ''unstable space'' within my painting practice. The first series of paintings that engaged with concepts related to the window painting within these artists'' practices, the unstable space can be created work_zkpht3orsrel3idlabfdy4l2me Este trabajo aborda el desarrollo del arte estatuario en Chile a partir de las relaciones entre los artistas nacionales y las escuelas europeas, en donde la mayor parte de ellos de edifi cios i ebanistas, como para los que se consagran a otras artes u ofi cios con Ellos son "Infl uencias europeas en la pintura chilena durante la primera mitad del siglo XX" (N° 1960225), "El desarrollo de la crítica de arte en Chile a partir de la obra hemerográfi ca de Antonio por estas ideas, que se institucionalizan en el espacio de las academias ofi ciales, los decreto consideraba también perfeccionar a los artistas en escultura, artes aplicadas y pintura mural, entre otras técnicas 20 Entenderemos como "escultura moderna" a las producciones plásticas que se manifestaron principalmente en la primera mitad del siglo XX, obras que emergen de algunos de los trabajos realizados entre 1880 y 1905 por autores tales como work_zksgqxtqoffpjoe736e7lerjd4 düşüncesi ile "düşünen özne" olarak yeni bir ifade kazanmıştır. 1Sanatçı öznenin, dış dünya nesneleri ile olan etkileşiminin yaratım sürecine felsefe alanları disiplinlerarası bir yaklaşımla sanatçı öznenin, dış dünya nesneleri ile deyimi ile öz, "Varoluşu için başka bir şeye gereksinme duymayan şey"51 olarak ifade şeyin (bir insan, yer, düşünce, fantezi65 veya anı) nesne olduğunu söyleyen Güney, dış eşsiz bir görüntüye dönüştürür ve dış dünyaya imge olarak yansıtır (Resim 3.11). Sanat tarihinde önemli bir yere sahip olan "Belleğin Sürekliliği" (Resim 3.44) Nesneyi vurgulama yöntemi ile izleyici, ilk olarak nesne odaklı bir Dış dünya nesnesi olan kürenin figürün baş kısmı ile aynılık ilişkisi; özne-nesne Dikey dikdörtgen bir yapı ile dizayn edilerek kapalı kompozisyon olarak Dikey dikdörtgen bir yapı ile dizayn edilerek kapalı kompozisyon olarak Dikey dikdörtgen bir yapı ile dizayn edilerek kapalı kompozisyon olarak Dış dünya nesnesi olan mavi kürenin figürün baş kısmı ile form olarak aynılık work_zo6j6bkr55dcfgevn7xicimila Specters of the Vessel: Sōdeisha, Isamu Noguchi, and Nonfunctional Ceramic Art the quintessential obuje-yaki, or ''kiln-fired object.'' Used by proponents of Japan''s ceramic reminiscent of dogū, clay figures from the Jōmon period, and haniwa, the funerary ceramics of The Walk of Mr. Samsa, a ceramic sculpture created by potter Yagi Kazuo in 1954, is members of Sōdeisha to adopt such forms as clay figures (dogū) dating from the Jōmon period (c. 11 The Japan Ceramic Sculpture Association continues to exhibit work annually, with its 65th exhibition correlation between non-vessel forms and the Westernization of Japanese ceramic art means to an end, a way to transcend Japanese ceramic tradition by tagging his work with a of Japanese society and its ceramic traditions to the Yayoi period necessarily overlooked Jōmon to this genre of Japanese ceramic art, and specifically to the works of Sōdeisha, was not in fact a work_zojz72rwnbfbpltbb3t5fpjea4 t h a t these Images of the female nude r e v e a l e d commodity promoted by the Western bourgeois male-dominated popular press c l a s h e d with the female images i n the dominant female nudes f o r wealthy, powerful male p a t r o n s . 1827-8, p r e s e n t e d female nudes as o b j e c t s of male v i o l e n c e Western bourgeois male-dominated F r e n c h c u l t u r e c o u l d r e t a i n Western bourgeois male-dominated F r e n c h c u l t u r e c o u l d r e t a i n