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This paper/visual art/puppet show is about the more-than-human entities who help me include my whole self in my teaching and other research. It is about how generative it is to be our whole, sacred, profane, glorious selves. This art reminds us of the importance of dreaming beyond what we have been told is possible. It demonstrates how irreverent, gleeful, binary-challenging art makes oppression more visible, so that we can challenge it. This work is about interrupting hegemony/the status quo/the idea that some of us are ‘normal’ and the rest should be pecked to death. It is about resistance strategies for poking fun at power, especially our own (so we don’t become someone who attacks difference). The puppet collaboration aspect came from shared frustration with the Non-Profit Industrial Complex. This collaboration is part of our ongoing, decades-long experimentation. This paper includes art that I shared as a participant in dichotomy-challenging research, which uplifted the voices of Mad social workers. This art makes fun of my profession of social work. I was encouraged to have space to express my feelings, without being constrained by mere words. I invite you to share the dream of being our whole selves, beyond and within the confines of universities, professions, classrooms, societies and research. By continuing to play in unsafe circumstances, I am keeping myself, connection, dreaming beyond binary, and art as resistance. What are you fighting for? How are you making fun of yourself? [ABSTRACT FROM AUTHOR]

This study explores a particular interface between fine art and mass culture: how cartoonists reimagined a well-known or lesser-known painting or illustration. I analyse political cartoons based on these reworkings in four selected Budapest comic papers (Bolond Istók, Borsszem Jankó, Kakas Márton and Üstökös) between 1890 and 1910. In the present study, I analyse only those drawings whose originals feature the leader Árpád or a ruler as the protagonist and relate the paintings to their actions. The caricaturists replaced them with political figures, thus updating the message of the paintings. First I will present the actualised metamorphoses of Árpád, then the transformations of the rulers of later periods, followed by the reimagined representations of the contemporaries, Franz Joseph and Elisabeth. I close the analysis with an example from abroad. [ABSTRACT FROM AUTHOR]

Folk paper-cut art is one of the bright pearls, with a wide range of shapes and a long history, that serves as a model for modern visual communication design in China and encourages designers to think creatively. Integrating emotional elements into a design not only can elicit an emotional response from the viewer but also can make works created using traditional rational thinking more vivid, energetic, and touching. The main focus of this research is on the path and method of incorporating folk paper-cut emotion into visual communication design. The research status of various feature extraction methods and image recognition methods at home and abroad is examined in depth in this paper. For the recognition of distorted images that are not transformed by mathematics, some effective methods are proposed. They are used to recognize artistic images of paper-cut patterns because they can extract effective features that are not affected by translation, rotation, scale change, or small deformation. Experiments have shown that they have a positive impact. The use of folk paper-cut art in visual communication design not only improves the quality of design work but also generates new ideas for the transmission and development of other traditional Chinese cultures. [ABSTRACT FROM AUTHOR]

Chassica Kirchhoff, an art historian and curator, has published a book titled "The Thun-Hohenstein Album" which focuses on the study of the second volume of the Thun-Hohenstein albums. These albums consist of drawings of armours and armoured figures from the early 17th century. The book explores the origins, references, and authors of the drawings, as well as the artistic, social, and political contexts in which they were produced. Kirchhoff argues that these drawings were not just technical sketches, but rather tokens of a memorial culture that conveyed symbolic significance. The book is divided into five chapters that analyze different aspects of the album, including plate armour in Augsburg, late medieval martial arts' visual culture, and the commemorative aspect of the drawings related to tournaments. The book also examines specific drawings that celebrate the memories of Maximilian I and Charles V, as well as the Augsburger artistic and intellectual society. Overall, the book offers a unique perspective on the cultural significance of arms and armours beyond their military purposes. [Extracted from the article]

This paper discusses the manuscript "The Hidden and the Seen: Art as an Intersubjective Medium." The author used artwork in psychoanalytic treatment to explore exhibitionism. Additionally, this paper will explore the use of artwork to analyze the conversion of trauma into voyeurism. It highlights various ways to incorporate art, focusing on how a patient's fixation can be harmful, reparative, and pleasurable. [ABSTRACT FROM AUTHOR]

This paper explores the intersection of art and psychoanalysis, specifically the various ways in which the introduction of works of art into treatment can open pathways of intersubjective exploration and understanding of the patient's unconscious processes that may have been otherwise hidden. Similar to the function of dreams and free association in psychoanalysis, a patient's connection and identification with specific works of art may illuminate aspects of their unconscious organizing activity, or simply reiterate and re-confirm already-discovered dynamics of their internal world. Art in this context acts as an intersubjective medium through which associations from both the analyst and the analysand reflect one another and reveal deeper interpretations. This topic is explored by way of a clinical vignette in which the patient's love for a particular painting opens up associations for both the patient and the analyst, areas of exploration that lead into deeper realms of the patient's internalized relational world and his exhibitionism. Although the patient in this vignette has had significant experience with psychoanalysis, elusive areas of unconsciousness remain. His associations to his favorite painting by the Renaissance painter Giorgione and the analyst's own associations to the painting help to illuminate hidden sectors of the patient's unconscious processes, including how his developmental longing for admiration is in direct contradiction to his felt need to remain hidden, and how this conflict expresses itself in his exhibitionism. [ABSTRACT FROM AUTHOR]

This paper offers a reflective account of delivering art workshops in women's prisons in England, as one method in a larger, qualitative study around the role of food in prisons. We present reflections around the role of art workshops in building relationships and community between the researcher and the participants, and the participants themselves. We found that building connection through art workshops, in a hostile and challenging environment like prison, enabled us to gather richer and deeper data during the qualitive interviews that succeeded the art workshops. We propose that attention from researchers to the 'unintended consequences' can contribute to research projects which are impactful for both the participants and researchers. This paper addresses gaps in literature around the use of visual art as method in women's prisons and the role of arts-based methods in larger qualitative research projects in secure settings. [ABSTRACT FROM AUTHOR]

This paper catalyses the academic urgency to understand agri-food system transformation pathways. Such transformation requires new food growing imaginaries of rooted in a change of thinking and ways of engaging with more-than-human perspectives. Urban spaces are hubs of human and more-than-human interactions, and urban organic farming offers an excellent site for exploring such new food growing imaginaries. The research presented here innovates theoretical and methodological knowledge in more-than-human geography. It develops alternative food growing imaginaries through a sensory ethnography at an urban organic workers’ cooperative Organiclea and visual arts methodologies. Through that, the paper brings to the fore the marginalized more-than-human perspectives by exploring more-than-human sensory Umwelts – taste and nutrition for the soil, sound for soil denizens, smell for honeybees, tactile perception for common weeds – and understanding human experience of food growing through sight. Attuning to a more-than-human sensorium broadens our knowledge of the life stories of other biotic and abiotic critters and recognizes that human and more-than-human world-making projects are interconnected. The paper concludes that sensory engagement is critical to the development of new imaginaries for a more sustainable food production. [ABSTRACT FROM AUTHOR]

CAVE is a shared narrative six degrees of freedom (6DoF) virtual reality experience. In 3.5 days, 1,927 people attended its premiere at SIGGRAPH 2018. Thirty participants at a time each saw and heard the same narrative from their own individual location in the room, as they would when attending live theater. CAVE set out to disruptively change how audiences collectively experience immersive art and entertainment. Inspired by the social gatherings of theater and cinema, CAVE resonated with viewers in powerful and meaningful ways. Its specific pairing of colocated audiences and physically shared immersive narrative suggests a possible future path for shared cinematic experiences. [ABSTRACT FROM AUTHOR]

Considerable differences will be found between the way many art works and particularly the papers, which act as support and made especially for graphic art, have aged over the years. They confirm an urgent need to use permanent archival materials to ensure the longevity of an art work. To evaluate whether some of papers used by artists are likely to last the test of time it is necessary to determine their permanence and durability. A work of art on paper, such as a print, created for display as the artist intended, should be printed on paper of archival quality, displayed and stored, when not being exhibited, under strictly controlled climatic conditions, with strict light levels.

Critical engagement with spaces of exposure is an important research agenda in the contemporary social sciences and humanities. Developing and extending this agenda, this paper offers an account of how scenes of exposure at border zones are mediated materially, aesthetically, and politically by forms of envelopment. Specifically, it discusses the geographies of exposure and envelopment that unfold through the use and re‐use of the emergency blanket at these zones. Fabricated from metallised polymer films, emergency blankets are used commonly to provide thermal protection for bodies at risk of exposure in a range of situations. More than functional, however, these objects also have a distinctive aesthetic allure. By attending to the material and aesthetic qualities of the emergency blanket, this paper explores its visibility and significance in scenes of exposure at border zones. Highlighting how the blanket is deployed as a device of minimal comfort, the paper then considers artistic works that repurpose this object as part of a creative critique of conditions at these zones. Drawing on the work of Stacy Alaimo and Ronak Kapadia, among others, the paper develops the concept of insurgent envelopment to understand how artists use the emergency blanket in works that simultaneously foreground, disrupt, and reimagine relations between exposure and envelopment. [ABSTRACT FROM AUTHOR]

This proposition acknowledged education, artistic process, and inspirations based on the explored medium, focusing on the concept and contextual analysis of Zarina Hashmi's works. As Zarina Hashmi had always been interested in space and its adventures, her minimalist artwork draws inspiration from Urdu poetry. Although Zarina's works give the impression that this language hides in a blank and that frames conceal themselves beneath lines and boundaries. The most recognizable geometry was created on the surface of cast paper sculptures, drawings, and prints; the simple, dramatic, and enigmatic outcomes were more aesthetically expressed. This research paper is centered on the development of visual art, qualitative analysis, and empirical art practices. Her work questions the boundaries, delimitations, and navigation of familiar spaces like "country" and "home," as well as the emotions and memories that evoke enduring imprints in the minds of viewers. Given her extensive artistic path, it is astonishing that she navigated from the personal to the universal. [ABSTRACT FROM AUTHOR]

Although visual arts pedagogies are considered central within early childhood education programs, teacher self-efficacy has a direct impact on the quality and delivery of visual arts curricula. Until recently, the visual arts self-efficacy, pedagogical knowledge, and practice of in-service early childhood teachers have remained largely unexplored. The authors of this paper present a qualitative, iterative re-analysis of their three PhD studies which broadly focussed on early childhood visual arts praxis and specifically examined the visual arts beliefs and pedagogy of early childhood teachers in Australia and New Zealand. A thematic analysis of the intersecting self-efficacy findings raised in the three studies identifies the powerful influence of self-efficacy on teaching practice in the visual arts domain and offers new understandings about visual arts self-efficacy amongst early childhood teachers. The combined findings reveal several factors that restrain or enhance teachers' visual arts self-efficacy across time, including the impact of childhood experiences, pre-service training and epistemological beliefs. The paper also identifies several enabling conditions that appear to support teachers to develop and maintain positive visual arts self-efficacy beliefs, including practical engagement with materials, sustained professional learning, relational trust and intentional leadership. These enabling conditions offer practical strategies and research recommendations in service of positive visual arts self-efficacy to enhance quality visual arts teaching in early childhood contexts. [ABSTRACT FROM AUTHOR]

To what extent, and on what grounds, can we ethically evaluate art from a generative context that is at some significant distance from our present reception context—at enough distance, at least, so that the two contexts differ, in important ways, in aspects of their moral outlooks? This paper has four aims. The modest task of the paper is to show that this question is much more difficult than has been recognised. The somewhat more ambitious goal is a methodological intervention: it is to highlight the need for interdisciplinary research that illuminates the socio-historical specificities of remote generative contexts in a way that allows us to see the relevant ways in which the moral outlooks overlap with ours (or do not). In relation, the third aim of the paper is to argue, with reference to Bernard Williams's 'relativism of distance', that there are some cases in which the moral outlooks of a work's generative and reception contexts differ so significantly that the warrant for our moral judgments of remote artworks is attenuated—if it exists at all. Finally, we try to demonstrate how the sort of interdisciplinary collaboration we're advocating might inform our moral judgments of art—more specifically, in a way that invites a degree of quietude or uncertainty about remote artworks that are deeply morally troubling in our present reception context. We do this with reference to the paintings of Titian. [ABSTRACT FROM AUTHOR]

Purpose: The continuous advancement of assisted reproductive technologies (ART) and the evolving attitudes towards marriage and fertility among the general public have led to an increasing number of groups requiring special attention (GRSA) desiring to fulfill their reproductive needs through these technologies. These groups include single women (including single mothers without children), same-sex couples, and women in high-risk occupations, among others. The purpose of this paper is to explore the feasibility of appropriately liberalizing ART for GRSA. Methods: This paper discusses the advantages of a moderate liberalization of ART for GRSA from two perspectives: a theoretical basis and a practical significance level. It also analyzes the current constraints on liberalizing ART and presents suggestions for moderate liberalization. Results: The moderate liberalization of ART can provide technical support for respecting and realizing the reproductive freedom of GRSA, which has certain theoretical and practical significance. However, it is also subject to constraints. Conclusion: We call for government to keep pace with the times, based on the current stage of political, economic, and social development, to further recognize and protect citizens' reproductive rights, prioritize the practical needs of the public, and explore policies and regulations for gradually loosening the restrictions on ART for GRSA. [ABSTRACT FROM AUTHOR]

Comic inpainting is essential for language localization and adapting comics into animations, involving the removal of speech boxes, textboxes, and sound effects while maintaining artistic integrity. This paper introduces an automated approach leveraging the Manga inpainting method by Xie et al., adapted for western comics like Tex Willer. Tex Willer comics, known for their fusion of Italian art and American Western imagery, pose unique challenges due to their distinct styles. Customized Manga Restoration and Structural Line Extraction codes are employed, along with automated mask generation using deep CNN-based speech balloon detection and segmentation. Our contributions include the development of a precise model tailored to Tex Willer Comics, resulting in visually coherent inpainting results. The paper follows a structured format, covering State-of-the-Art, methodology, results, and conclusions, aiming to streamline the process of western comic inpainting for professionals in the comics and animation industries. [ABSTRACT FROM AUTHOR]

This paper explores the changes to art on artefacts attributed to females in the Late Nordic Bronze Age (ca. 1100–500 BC) from a gender critical, feminist perspective. Traditionally, Scandinavian research has focussed on the art of male artefacts, which is believed to represent a cosmological narrative, whilst female art has been considered devoid of cosmological motifs – concomitantly, it is often assumed that prominent social standing was reserved males. Through analytical discussion, the paper shows how the same motifs as are considered cosmological in male objects can be found on female objects, too, in compositions diverging from the male use, suggesting a gender differentiated use of art and association to cosmology. Through a gender theoretical lens, the paper explores what the social use of the art on these objects may suggest regarding identity and power relations in society, linking up with a reconfiguration of female identity at this time. [ABSTRACT FROM AUTHOR]

DNA methylation is a biochemical process that modifies gene expression without changing the underlying DNA sequence, and this represents the molecular basis for imprinting and epigenetics. Recent reports have revealed alterations in DNA methylation profiles in the placenta of babies born from assisted reproductive technologies (ART). This supports several previous observations that suggested an increase in the prevalence of imprinting diseases following ART treatment, and also fits our observations regarding the metabolism and requirements of early human embryos. Human embryo culture media (HECM) are currently formulated according to requirements based on the mouse embryo model, and in fact need to pass the Mouse Embryo Assay test in order to be accepted by the relevant authorities, despite the fact that physiological (especially the time necessary to reach genomic activation) and biochemical requirements of mouse and human embryos are quite different. This commentary aims to explain some of the discrepancies, and emphasize why human embryo metabolism tells us that the composition of HECM, as well as the role of the MEA as a unique model, should be re-evaluated. [ABSTRACT FROM AUTHOR]

Art has always been an object of study and performance tool for Psychology professionals in Brazil. In order to increase the knowledge on this relationship, the present study aims to characterize as Art has been used by psychology professionals in the country. The method used was the bibliographical and exploratory research in databases on production of scientific papers on the use Art by Psychology in Brazil from 2004 to 2014. 318 abstracts from six categories of analysis of articles that had been analyzed were selected: year of publication, type of study, theoretical references, artistic expression type, field in Psychology and objective of the work. After the analysis it was concluded that, in Brazil, there is a predominance of theoretical and epistemological work in literary and visual arts, based on psychoanalytic theory, aimed at theoretical / conceptual expansion. [ABSTRACT FROM AUTHOR]

Psychology originally defined parent–child conflict in terms of interpersonal relationships, where parent–child conflict is a process of inconsistent attitudes between parents and children that occurs in a family setting. For this end, we aims to investigate the influence of parental awareness on preschoolers' perception of parent–child conflict and the mediating role of preschoolers' self-esteem. This paper proposes a dynamic parent–child relationship discovery algorithm based on the impact of parent–child cooperation activities on preschool children's development. We applied SPSS and Mplus statistical software for data processing and analysis, and Nvivo 11.0 qualitative software for validation and analysis. The reliability of preschool children's perceived parent–child conflict and sub-dimensions were: 0.901, 0.799, 0.791, 0.811, 0.729; the total scale and the retest reliability of each dimension were: 0.914, 0.837, 0.836, 0.792, 0.711. Validated factor analysis using Mplus: RMSEA = 0.075, TLI = 0.856, CFI = 0.876, SRMR = 0.064. [ABSTRACT FROM AUTHOR]

Using many years of experience in the UK's state primary schools, I consider that a limited understanding of time has damaging implications for both pupils and adults within the education system. The sector neglects the fact that time has much potential, many definitions and is a powerful influence on man. I share how education took clock‐time and manipulated it to an extreme, leading to the rule clock‐time now has over our schools. We are being held to account by time, and it has become our foe; however, I believe that it can become our friend. I explain why education should accept time's many facets and use them to help reshape its structure and practice. Time, in educational spaces, could be understood and experienced differently, taking in to account the human and all manner of other relevant things, for the greater good. This article began as a combined work of spoken word, poetry recital and research paper. [ABSTRACT FROM AUTHOR]

This paper explores how increases in modularisation, elements of professional practice and even our relationship to screens and social media are amongst the factors that have changed the way time is experienced in higher fine art education. I draw upon my experience as a student, educator and pedagogical researcher to propose that identity formation and/or transformation are amongst the key functions of higher education in fine art in the West; that becoming an artist involves complex process of socialisation and individuation; and that these processes take time. I speculate that time is something which was once experienced comparatively smoothly but has been striated and fragmented by various factors including an increased focus on employability, the presence of social media, and not least various post Bologna interpretations at national or local level of the introduction of units and modules to comply with standardised credit systems. I propose that the combined effect of these factors amongst others distracts students from the middle by focusing them on micro destinations that deflect from developing a practice and impacts on these potentials. [ABSTRACT FROM AUTHOR]

Our paper addresses the stated need for art educators to develop inquiries into the history of non-Western, non-Anglophone art education systems. In response, we look at data taken from the history of Israeli art education and the development of Israeli art curricula in order to offer a historical sketch of the development of school art curricula in Israel. We frame our sketch using the perspectives of multiculturalism and critical theory. In the course of our discussion we reference scholarship from North America and Europe. However, our focus is primarily on shifts in Israeli policy in the direction of acknowledging greater diversity and multiculturalism. We trace these themes, starting with pre-state Israel and concluding with contemporary Israeli concerns with equity and social justice. We note parallel concerns with the same social issues in scholarship from North America and Europe. The main purpose of this comparison is to bring attention to the "blind spots" and "black holes" in Israeli visual arts syllabi where both Arab and Jewish Eastern culture and esthetics have been overlooked. We note parallels between these omissions in the Israeli visual arts curricula and attempts to correct similar lacunae in North American visual arts education. [ABSTRACT FROM AUTHOR]

This paper reported an exploratory study that examined secondary school students’ understanding of collaborative discourse in a computer-supported knowledge building environment in characterizing and scaffolding their engagement in productive online discourse. The participants were thirty-eight secondary school students in a visual arts course. A designed computer-supported knowledge building environment supported by Knowledge Forum®, an online discussion platform, was applied to the class, and knowledge-building talk was integrated into the classroom. The knowledge-building talk in the classroom involved the students’ reflections on their online participation through the explicit discussion of knowledge-building principles to scaffold the students’ understanding of collaborative discourse. Quantitative analysis indicated that the students’ views and understanding of collaborative work and discourse were related to their engagement in online discourse and domain knowledge. Qualitative analysis showed how the Knowledge Forum and the classroom knowledge-building talk supported students in developing an understanding of collaborative discourse. The implications of examining students’ understanding of collaborative discourse in a computer-supported collaborative learning environment are discussed. [ABSTRACT FROM AUTHOR]

Purpose: Creative workshops can promote various positive outcomes for people with dementia, such as reductions in undesirable symptoms and achieving levels of autonomy. Although these are undoubtedly positive outcomes, there is little understanding of the specific processes that can enable such outcomes. To address this issue, our study investigates the interactional processes of "choice-sequences," in which a PlwD makes a choice pertaining to materials (e.g. pens, coloured papers) for a creative activity. Methods: This Conversation Analysis study draws upon around 60 hours of video-recorded creative workshops involving artists, people with dementia, and carers. Drawing upon the notion of "co-creativity," we examine the collaborative work that goes into accomplishing choice- sequences. Results: While these sequences typically begin with an artist presenting a choice to a PlwD, carers routinely enter these interactions and provide various forms of support needed to accomplish each basic action of a choice-sequence. Conclusions: This study shows carers working alongside the artist to pursue the PlwD's choice in a triadic participation framework, and carers supporting the PlwD in a dyadic participation framework with the artist having exited the interaction. In providing such support, carers can utilize their understandings of the communicative norms and requirements of the PlwD. [ABSTRACT FROM AUTHOR]

Research on children's literature focuses on preschool children's books (children aged 3–6) and on juvenile fiction, yet is lacking in studies on toddler books (ages 0–3). In this paper, I present a definition of the genre of toddler books (often referred to as boardbooks, despite it including non-boardbooks), while focusing on the illustrational aspects, that are at least as dominant as the written texts, if not more so. I also examine the plots and themes that are presented in toddlers' books, distinguishing between concept books (lexical books with no narrative), ritual books (which engage in instilling certain habits), and narrative books (toddlers' books that depict a complex narrative and serve as preparation for prereader books). The findings of the study indicate that toddlers' books are often infants' first encounter with both narrative thought and visual art, hence their significant place in their development. [ABSTRACT FROM AUTHOR]

Art research has long aimed to unravel the complex associations between specific attributes, such as color, complexity, and emotional expressiveness, and art judgments, including beauty, creativity, and liking. However, the fundamental distinction between attributes as inherent characteristics or features of the artwork and judgments as subjective evaluations remains an exciting topic. This paper reviews the literature of the last half century, to identify key attributes, and employs machine learning, specifically Gradient Boosted Decision Trees (GBDT), to predict 13 art judgments along 17 attributes. Ratings from 78 art novice participants were collected for 54 Western artworks. Our GBDT models successfully predicted 13 judgments significantly. Notably, judged creativity and disturbing/irritating judgments showed the highest predictability, with the models explaining 31% and 32% of the variance, respectively. The attributes emotional expressiveness, valence, symbolism, as well as complexity emerged as consistent and significant contributors to the models' performance. Content-representational attributes played a more prominent role than formal-perceptual attributes. Moreover, we found in some cases non-linear relationships between attributes and judgments with sudden inclines or declines around medium levels of the rating scales. By uncovering these underlying patterns and dynamics in art judgment behavior, our research provides valuable insights to advance the understanding of aesthetic experiences considering visual art, inform cultural practices, and inspire future research in the field of art appreciation. [ABSTRACT FROM AUTHOR]

Creativity has long been viewed as the bastion of human expression. With the advent of generative artificial intelligence (AI), there is an emerging notion of artificial creativity that contests traditional perspectives of artistic exploration. This paper explores the complex dynamics of this evolution by examining how generative AI intertwines with and transforms the art world. It presents a comprehensive analysis of the challenges posed by generative AI in art, from questions of authenticity and intellectual property to ethical dilemmas and impacts on conventional art practices. Simultaneously, it investigates the revolutionary opportunities generative AI offers, including the democratization of art creation, the expansion of creative boundaries, and the development of new collaborative and economic models. The paper posits that the integration of generative AI in art is not just a technological advancement but a significant cultural shift, which necessitates a reevaluation of our understanding of art and the artist. It concludes with a forward-looking perspective, advocating for a collaborative approach to harness the potential of this technology in enriching human creativity and ensuring the vibrant evolution of the art world in the era of AI-driven generation. [ABSTRACT FROM AUTHOR]

Pictorialism emerged in the last quarter of the nineteenth century as a global aesthetic movement that argued for photography's artistic status on par with other plastic arts more powerfully than ever. Archives from South Asia demonstrate the movement's thriving life in the subcontinent with Calcutta emerging as a centre and its bilingual amateur photographer-writers as major participants simultaneously engaging in globally circulating specialist discourses on pictorialism and popular discussions of their practice aimed at public pedagogy. By looking into Bangla periodical press this paper investigates how Bengali pictorialists used popular Bangla magazines in the early twentieth century to establish their distinct voice regarding what counted as artistic photography as they engaged with a non-specialist mass readership. Mass-circulated Bangla articles were not vernacular translations of knowledge and practices produced in metropolitan locations and disseminated in transregional languages like English. Vernacular was an extension of Bengali amateur photographers' participation in global photography, as they remained grounded in their historical specificity. These amateur photographers were bilingual intellectuals who wrote in English for a global public and in Bangla for a Bangla-reading publics and refraining from translating culture as they moved across languages. Indeed, articulations in vernacular didn't mean a venularization of practice; they indicate plurality of belonging and affiliation that crafted the pictorialist aesthetic of the Bengali amateurs. By unpacking this intellectual history, this paper decenters the Euro-US-centric history of pictorialism towards writing an interconnected history of the artistic movement, while also complicating the category of modern Indian art. [ABSTRACT FROM AUTHOR]

Beginning with today’s widely accepted thesis about literature as an act of communication, the paper presents a part of the results of a wider study of that process in a diachronic overview of recent Serbian literature. The base of the research is the question of the historicity of literature, including the problematization of the concept of development as the key determinant of a group of authors dealing with literary-historical processuality, and simultaneously rejecting the final consequence of the poststructuralist demand for the deconstruction of history. In so posited a frame, the study incorporates the communication between Serbian literary Moderna and a wider social and cultural context in which texts come into being, and which themselves constitute the mentioned context, and a dialogue with the present moment in which criteria of the value and meaning of literary texts shift. Through the examination of that period, it problematizes the question of the time frames of literary-historical stages, their internal dynamics, and their correlation with other literary periods/directions/movements. We rely on interdisciplinary studies that shed light on the literary process in contact with other arts for the argumentation of some literary attributes of Serbian Moderna, as well as for the explication of some of its under-researched characteristics. For that purpose, one segment of the paper is devoted to the relationship between the poetic texts of Moderna and visual arts (sculpture and painting) and music. The methodological foundation of the paper consists of the examination of literature from the perspective of phenomenological studies, which arrived at their reinterpretation with the development of cognitive studies, at the centre of which is literature as an act of communication. [ABSTRACT FROM AUTHOR]

Mary and Jesus typically appear in visual art in one of two scenes: the "Madonna with Christ Child" ("Platytéra"), or "Pietà" (Mary holding Jesus after his crucifixion). Mark Doox's icon Our Lady, Mother of Ferguson and All Those Killed by Gun Violence (2016) fuses these contrasting narratives by depicting a modern-day crucifixion of the Ferguson Christ Child in front of (or within) his mother's womb. Doox's adaptation of ancient iconography and allegory for Mary and Jesus make a poignant statement about today's threat of gun violence, particularly in black communities. This paper exegetes the icon's biblical visual allegory by highlighting parallels between the icon, biblical scriptures, visual theologies of the "Platytéra," "Black Madonna," and "Pietà," and the socio-cultural context of this icon following inter-racial violence in Ferguson, Missouri. This paper explores the value that the icon provides for discourse on the intersection of race, theology, and art. [ABSTRACT FROM AUTHOR]

The term 'mitochondrial vesicle' was first used in 2003 in a description of anuran sperm and persists to this day throughout the literature on assisted reproductive technologies (ART) for amphibians. In the present paper, we argue that the term is inappropriate because the widely accepted definition of a 'vesicle' refers to an integral structure with an enclosing lipid bilayer/membrane. Moreover, there are no electron micrographs that show a vesicular structure encapsulating mitochondria on amphibian sperm heads in the literature. In fact, in 1993, the mitochondria in the anuran sperm head had been described as positioned in 'mitochondrial collars ' or 'mitochondrial sheaths' surrounded by the plasma membrane of the sperm head. On the other hand, mitochondrial-derived vesicles are defined as vesicles shed from mitochondria surfaces, potentially creating confusion. Therefore, our view is that the term 'mitochondrial vesicle' should be avoided in describing the positioning of mitochondria on sperm. The term 'mitochondrial vesicle' was first used in 2003 in a description of anuran sperm and persists to this day in the literature on assisted reproductive technologies (ART) for amphibians. In the present paper, we argue that the term 'mitochondrial vesicle' is inappropriate because the widely accepted definition of a 'vesicle' refers to an integral structure with an enclosing lipid bilayer/membrane. Photograph by Robert Browne. This article belongs to the Collection Dedication to Jim Cummins. [ABSTRACT FROM AUTHOR]

This paper examines the role of women in Nazi Germany and ways the policy and propaganda implemented and enacted both plans an policies to transform women into the mothers of the nation. The paper will focus on the ways propaganda posters were used in order to engage public opinion, using the power of visual arts into manipulating public opinion that the body of a woman should be devoted to the Reich, (re-)producing the pure-blooded German and support the creation of a new empire. The posters supported and acted as a direct reminder of the policies set by Nazi regime, and their ideology on family planning, racial purity and gender roles. The propaganda machine that produced them borrowed symbols from religious works of the Renaissance connecting the "ideal mother" to images of Holy Mary, in a twisted connection between religion and social engineering. The presentation will discuss about the ways Nazi Germany elaborated the role of women, the (ab)use of their body and the ideal depiction of it according to the regime, the distortion of iconic renaissance paintings along with the ways that religion and public policy have been weaved in order to manipulate and re-educate an entire nation will be parts of the presentation in order to highlight this interesting part of history. [ABSTRACT FROM AUTHOR]

The funeral rite, locally called oshwue-aji, is a funeral condolence outing among the Nsukka Igbo of Southeastern Nigeria. It features performances, enlivened with art objects and costumes. It is imbued with remarkable social significance. This paper examines varying performances and costumes associated with the oshwue-aji rite. The condolence trip displays exquisitely crafted bracelets, pendants, clothing, and other fashion accessories worn by the bereaved – children, daughters, sons, as well as daughters' and sons’ in-laws with their spouses. Relying on Paul Horwich's use theory of meaning, this paper discusses the distinctive nature of these visual art objects to understand their symbolic and social functions. It equally presents the phenomenon of oshwue-aji, directed towards understanding the nature of sociality these incorporated artistic dimensions generate within the social space per time. Interviews and personal observations were relied on for data collection from people performing the oshwue-aji rite because they are bereaved. Being a qualitative study, the art forms and related objects that constitute the data were analyzed descriptively. Beyond serving to epitomize vivacity and gaiety, these artistic creations remain an orchestration to appreciate, publicize, and promote. The paper finds that people's engagements in funerals with creative elements and donations and/or exchange of gifts build social solidarity in traditional contexts. [ABSTRACT FROM AUTHOR]

The aim of this paper is to explore the ethical implications of artificial intelligence (AI) in the realm of art. Drawing on the philosophy and ethics of AI, this study examines the ethical challenges that may arise in the art domain. Given the increasing use and penetration of AI in the field of art, there is a need for more careful attention to the ethical dimensions of this phenomenon by scholars of art and philosophy. To achieve the objective of the paper, concepts such as AI, some of its techniques, and the ethical issues of AI in art are explained and analyzed using the analytical-descriptive method. The findings of the study reveal that ethical issues such as privacy and surveillance, manipulation of behavior, opacity and transparency, bias in decision systems, and automation and employment can be investigated in the field of art. These ethical issues are sometimes in conflict and sometimes in direct relation with each other. This study suggests that addressing the ethical questions of AI in the field of art requires addressing the ethical questions of AI in general. [ABSTRACT FROM AUTHOR]

This study was aimed at comparing different formats of illustrations for children's books created by modern Chinese and Ukrainian artists. At the same time, it was not focused just on determining the leading format, but on identifying the attractiveness factors of each format. To this end, the study investigated children's illustration preferences drawing from the following three age groups: 5–6 years old (preschoolers), 7–8 years old (second‐graders), and 9–10 years old (fourth‐graders). According to the survey, children were most concerned with illustration colourfulness (this is true for paper and pop‐up books) and viewing convenience. There were no statistically significant differences found between Chinese and Ukrainian books in terms of these parameters. At the same time, Chinese e‐books appeared to outperform the Ukrainian texts in terms of feature management and illustration colourfulness. Publishers and artists of children's books can use these data for effective creative activity and making constructive decisions. At the same time, these findings may be of interest to parents, informing or guiding book selection for children. [ABSTRACT FROM AUTHOR]

This paper explores the British art patronage scheme Pictures for Schools, which sold affordable works of art to educational buyers at annual exhibitions between 1947 and 1969, focusing on the work of Pictures for Schools founder and organiser Nan Youngman (1906–1995) as an artist, educationalist and activist. It shows that, while social and cultural changes in post-war Britain around the development of the welfare state provided a receptive environment for Pictures for Schools, it was largely driven by Youngman's personal convictions and experiences. This paper traces the ideological motivations behind Pictures for Schools to the interwar period, exploring Youngman's involvement in two progressive organisations, the Artists' International Association (AIA) and the Society for Education through Art (SEA), which enabled her to campaign for progressive art and education. In doing so, it positions Pictures for Schools as a socially engaged intervention into the post-war education system in England and society. [ABSTRACT FROM AUTHOR]

Focusing on the construction of London's West India Docks in 1802, I argue that this project established a feedback loop with conditions of production in the Caribbean. Through an analysis of committee minutes, letters, parliamentary papers and visual art, I move beyond economic accounts of slavery's impact to demonstrate how geographies of security and surveillance—first developed on the sugar plantation—were imported into the design and function of London's port. As such, I argue that London's docks produced a geography of segregation which offers a unique insight into the workings of racial capitalism and its exploitation of group‐differentiated vulnerabilities. Positioning my discussion alongside London's contemporary landscape, I excavate Britain's repressed memories of slavery to illustrate how they still scar the urban environment. [ABSTRACT FROM AUTHOR]

This paper wants to know whether it would exist, or could exist, in worlds in which I didn't write it. Before we can answer this question, we first of all have to inquire as to what, exactly, this paper is. After exploring two forms of Platonism (pure and impure), and a theory that defines literary works in terms of events, I shall argue that the term 'this paper' is actually infected with ambiguity. Does this paper need me? It depends upon what you mean by 'this paper'. I lay out the options for what you might mean, and answer the question for each of the options. [ABSTRACT FROM AUTHOR]

The threat from possible future superintelligent AI has given rise to discussion of the so-called “value alignment problem”. This is the problem of how to ensure artificially intelligent systems align with human values, and thus (hopefully) mitigate risks associated with them. Naturally, AI value alignment is often discussed in relation to morally relevant values, such as the value of human lives or human wellbeing. However, solutions to the value alignment problem target all human values, not only morally relevant ones. Is there a value alignment problem in other domains? In this paper, I explore whether the AI value alignment problem extends beyond morally relevant values to include aesthetic values. I demonstrate that the value alignment problem as typically framed includes aesthetic values, and, using examples from computer vision, put forward that AI may be misaligned with human values in the artistic realm. Whilst misalignment may be cause for concern when considering AI creativity, I argue that aesthetic value is a case in which we do not want AI to be fully aligned with human values. In doing so, I offer support to Peterson’s moderate value alignment thesis. [ABSTRACT FROM AUTHOR]

"Filial harm" refers to harms experienced by a parent and caused by their child, with increasing umbrella terminology developing to capture all forms of harm despite differing experiences and contexts. In this paper, based on a Glaserian Grounded Theory study underpinned by participatory research principles, this work utilized diaries and interactive interviews with 34 parents and arts-based workshops with 21 children to develop a new terminology and approach to child and adolescent-to-parent violence and abuse when harm does not have a clear intent. Explosive and harmful impulses refer to preadolescents experiencing proactive, reactive, affective, and relational harms and needs. These specific forms of filial harm are based upon underlying needs, and the maladaptive ways children may attempt to meet their needs result in filial harm as an unintended consequence rather than being a form of harm with intent. Using an approach that captures subsections of filial harm, there is opportunity to better represent the nuance of individual family experiences and could provide more appropriate language and interventions that better represent the language used by families themselves. Future interventions, support pathways, and research with families living with explosive and harmful impulses could use the provided framework to understand why children are attempting to meet their needs in harmful ways and to consider less harmful methods of support. [ABSTRACT FROM AUTHOR]

AbstractWhy are the objects we place on our bodies not considered art? In this paper, I argue that distance between an object and the body is a criterion for a craft object to become an art object. Art objects are kept at a distance from most bodies. The distance is tightly maintained by the art world and used within the art world to control art and access to it. In the process, this distance defines an object as art. I present the case of jewelry – objects that do not transition from craft to art and are generally not accepted as art by the art world. I argue that this is because jewelry necessarily requires closeness between the body and the object, a violation of the rules of art. The argument I present here is relevant to questions of fashion and art. [ABSTRACT FROM AUTHOR]

In picture books, readers can obtain different emotional perceptions according to different image style attributes. Artists often use different combinations of colours, textures, materials, and other style elements in images to convey different emotions in their creations. Especially in picture books for children, there is a strong correlation between the perceived effect of the work and the accuracy and degree of emotional expression. In the process of creating picture books, various factors will affect the efficiency of artists trying to transfer styles to meet their creative needs. With the development of image style transfer technology based on a deep convolutional neural network, artists can use this technology to create works with different styles of emotional changes efficiently. In this paper, we select illustrations of picture books and use deep convolutional neural networks to transfer image styles from three aspects: colour style transfer, texture style, and material style transfer. Through sampling survey experiments, we discuss the changes in image attributes, emotional expression, and emotional perception in picture books for children. The survey results found that the most direct and evident influence on the emotional changes of picture book images is the transfer of colour style attributes, material style attributes, and texture style attributes. The results of this study can provide a valuable reference for improving the accuracy of emotional expression, the depth of meaning extension, and the height of artistic value in picture books for children during the process of an artist's creation. This research stands out by systematically analysing the distinct impact of each style attribute transfer, offering a comprehensive framework that can be utilized by artists and technologists alike to enhance the emotional and artistic quality of children's picture books. [ABSTRACT FROM AUTHOR]

Background: Universal antiretroviral therapy (ART) has led to improved treatment outcomes in persons living with HIV. Adherence to ART is required to achieve viral suppression. Real-time medication monitoring (RTMM)-based digital adherence tools (DATs) could be effective in improving ART adherence and viral suppression in persons living with HIV. Objectives: The primary and secondary objectives of this review were to assess the effect of RTMM-based DATs on improving ART adherence and viral load suppression. Methods: We searched MEDLINE, Embase, and Global Health for publications published through October 11, 2022. Narrative synthesis and random effects meta-analyses were conducted to synthesize the results. Results: Of 638 papers identified, 8 were included. Six studies were randomized controlled trials (RCTs), and 2 were cohort studies. Two studies, an RCT in China (mean adherence: 96.2% vs 89.1%) and a crossover cohort study in Uganda (mean adherence: 84% vs 93%), demonstrated improved ART adherence. No studies demonstrated improved viral suppression. In the meta-analyses, we estimated that RTMM-based digital adherence tools had a statistically insignificant small positive effect on ART adherence and viral suppression with a standardized mean difference of 0.1922 [95% CI: 20.0268 to 0.4112, P-value: 0.0854] and viral suppression with an odds ratio of 1.3148 [95% CI: 0.9199 to 1.8791, P-value: 0.1331]. Conclusions: Our meta-analyses found that RTMM-based DATs did not have a significant effect on ART adherence and viral suppression. However, due to few published studies available, heterogeneity of target populations, intervention designs, and adherence measurement instruments, more data are required to provide conclusive evidence. [ABSTRACT FROM AUTHOR]