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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]

An increasing requisite regarding the reproduction quality of electrophotographic printing machines demands improvement of new electrophotographic toner formulation, especially used pigments. The subject of this paper is a comparison of prints realised by depositing high chroma (HC) and standard emulsion aggregation (EA) toner on gloss fine art paper. HC toner has a different composition of the cyan and magenta tones compared with the corresponding standard EA toner tones and therefore behaves differently under real conditions. The patches used for this experiment were cyan and magenta tone prints with tone values (TVs) of 0, 20, 60 and 100%. Ultraviolet (UV) degradation was measured over time intervals of 0, 6, 12, 24, 48, 96, 144 and 240 h for all patches. Results (laboratory values) were calculated using colorimetric difference. Values were plotted as a function of time in tonal degradation graphs. A model was created using non‐linear regression‐based modelling. The experiment demonstrates that magenta patches are more susceptible to degradation in comparison with cyan patches. With the increase in tonal value, it is noticeable that the colorimetric difference is higher. Colorimetric differences calculated using HC magenta toner and standard EA cyan toner (100% TV) were higher than ∆E = 5, starting to appear after 6 h of exposure to UV radiance. After 12 h of exposure, colorimetric differences of standard magenta tones that were greater than ∆E = 5 also started to appear. Cyan patches (100% TV) printed with HC toner were more stable than the other patches, and after 240 h of exposure had not crossed the boundary of ∆E = 5. [ABSTRACT FROM AUTHOR]

A physician learns to appreciate art by first learning the human form through dysmorphology, and via the art collection of physician Dr. Albert C. Barnes and the Barnes Museum (Philadelphia, PA)., (© 2021 Wiley Periodicals LLC.)

In the aftermath of several decades of neoliberalism in Eastern Europe, the social fabric of post‐socialist societies is frayed. In this context, nationalist cultural policies and everyday displays of national belonging have emerged as key instruments of social solidarity. There has recently been a drive of state initiatives in Latvia in the field of cultural policy aimed at strengthening national identity. In this paper, we focus our attention on one particular cultural policy initiative, Latvian Films for Latvian Centenary. Drawing on qualitative interviews with 16 film directors who participated in the Centenary film programme, the paper explores how artists and cultural operators involved in this programme are mobilised as national(ist) subjects and how they see their work within such a framework. We argue that nationalist cultural policy can be successfully implemented because the artists, themselves formed as responsible political and moral subjects in the tradition of Latvian cultural nationalism, share a regard for culture and the arts as a resource for sustaining the political statehood and the national community. However, the artists also recognise the limitations of their work as a source of social cohesion and solidarity in a society that is ethnically divided. [ABSTRACT FROM AUTHOR]

In 1950, the President of the American Psychological Association emphasised the economic and political importance of creativity for US society. His account of creativity exhibits a number of tensions that can be identified in other psychologists' theories and conceptualisations of creativity. This paper considers the tensions from the perspective of critical discursive psychology. In the terms of that approach, the tensions derive from multiple non‐academic discourses around creativity, including popular discourses of creativity and art. The paper argues that conceptualisations of creativity from academic psychology have in turn entered wider discourses, invoked, for example, in recent celebrations of the global sector of the creative and cultural industries (CCI). The tensions within psychology's conceptualisations are significant, however, because they raise questions about the extent to which the psychology of creativity has a common reference and coheres around the study of a single phenomenon. [ABSTRACT FROM AUTHOR]

Amidst a pandemic‐ridden world, in which esoteric practices, conspiracy theories, and alternative spiritual movements are gathering growing popularity, turning the spotlight on spirituality can be seen as a problematic move that some might feel tempted to reject outright. However, rather than reifying the belief‐driven pretensions traditionally upheld by religion, in this paper, I wish to propose a different outlook on spirituality, one which is linked to those inexplicable, visceral sensations engendered by German artist Katharina Grosse's explosive use of colour. To do this, I turn to the philosophy of Gilles Deleuze, who when affirming the non‐representational, spiritual potencies inherent to art provides the conceptual means through which to address such relationship. Specifically, Deleuze places the emphasis on his concept of sensation, which speaks neither of subject nor object. Indeed, by apprehending those in‐between, intensive moments in which a visual work of art stimulates our eyes, mind, and body, sensation foregrounds an immanent, and not transcendent, understanding of spirituality. This immanent understanding of spirituality refers to the pre‐individual forces and processes from the outside through which sensation enables us to precursively experience what the spiritual looks and feels like, yet without enforcing a dogmatic pathway to follow. Thus, by combining my reflections on Deleuze's thinking on sensation with creative vignettes based on an online ethnographic study of Grosse's artworks, the paper presents three methodological pointers: (1) Confronting the in‐betweenness of sensation, (2) Experimenting with the precursive force of language, and (3) Unleashing the literary power of becoming. Through them, I show how geographers might rethink their engagements with art as having more to do with an aesthetically induced, micro‐subjective journey into their spiritual becoming than with an intentional encounter. I conclude the paper by discussing the ethico‐political implications that endorsing an ethos of sensation might have for geography and beyond. Inspired by German artist Katharina Grosses explosive artworks, this paper seeks to rethink how geography and spirituality might be brought together, when taking the inexplicable, visceral sensations generated by colour as a starting point. In so doing, the paper combines my theoretical reflections on Gilles Deleuzes concept of sensation with three creative vignettes (based on an online ethnographic study of Grosses work) in order to present three spiritually informed, methodological pointers. The paper concludes by discussing the ethico‐political implications that endorsing an ethos of sensation might have for geographers engagements with the visual arts and beyond. [ABSTRACT FROM AUTHOR]

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 paper offers a new child‐centred methodology that explores children's visions of their futures, encourages self‐reflection and depth and shares children's voices with peers and researchers, as unbrokered as possible. This final stage of a longitudinal, arts‐based, social science‐informed project was delivered by partnering with schools in socially disadvantaged areas of Bristol, a UK city. Our two‐phase activity used a Tree metaphor to explore children's hopes, ambitions and support, looking forward to recovery from the COVID‐19 pandemic. The analysis combined multi‐disciplinary thematic and visual‐narrative analysis, and revealed diversity, intersection and individuality in themes that scaled out from the child and their family over different timescales. Themes included emotion (concerns; empathy), experiences (happenings, resources skills; aspirations) and relationships, linked to their recent experiences of COVID‐19 mitigation. The paper reflects critically on children's and researchers' positionality, and the complexities involved in developing research methods that encourage children's autonomy, agency and authenticity. [ABSTRACT FROM AUTHOR]

Vanuatu sand drawing has been listed by UNESCO since 2006 and has both fascinated and puzzled researchers from various disciplines for over a century. The inherent multi‐dimensionality of the practice makes analysis complex, and until very recently developing a systematic methodology to study this intangible art form was difficult. This paper aims to contribute to filling this gap with the analysis of a corpus of sand drawings documented on the island of Paama in 2019. A detailed methodological toolkit is proposed to better understand the complex morphology of the drawings and their multi‐layered meaning and function. This paper offers the first few steps along a journey toward designing integrated comparative methods of analysis that can not only potentiate unprecedented insights into the cultural practice of Vanuatu sand drawing, but also more broadly help us understand how worldviews, beliefs and societal structures spread across time and space. [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]

Background Study: The research discusses the need for a paradigm shift in engineering education current practices to accommodate the digital native students. The paper emphasizes the importance of integrating disruptive technologies, namely Virtual Reality (VR) through Head Mounted Displays VR (HMD VR) and Desktop Based VR (DB VR) and comparing it with the traditional teaching methods. The research focuses on second‐year undergraduate students enrolled in a concrete structures course. Objectives: The objective of the study is to analyse the impact of DB VR and HMD VR on students' motivation, performance and workload in comparison with traditional 2D drawings. The study also aims to investigate how simulation sickness and system usability could impact students' motivation and performance when interpreting concrete structures. Methods: The study divided second‐year civil engineering students into three groups, 2D, DB VR and HMD VR. The performance and motivation levels of students were assessed based on the number of mistakes identified and an intrinsic motivation survey. Furthermore, data on system usability and simulation sickness were collected. Spearman rank correlation was conducted to analyse the relationships between the variables tested. Results: The results have shown that students' motivation and performance were much higher when using VR in general and HMD VR specifically, students' efficiency and accuracy were also observed. On the other hand, usability was found to be moderately correlated with motivation, with students rating HMD VR as the most usable approach. A moderate inverse correlation was observed between simulation sickness and motivation, indicating that higher simulation sickness led to lower motivation levels. Conclusion: The study concludes that integrating VR in general, DB VR, or HMD VR into a concrete structures course for undergraduate students can significantly improve students' performance and motivation. Furthermore, enhancing usability of any of the methods used can also improve the performance and motivation. On the other hand, simulation sickness inversely affects motivation and performance, therefore, VR developers and educators should not neglect it. Lay Description: What is already known about the topic: Traditional teaching methods in engineering education require improvement.Integrating digital technologies into engineering education enhances performance.Digital technologies can potentially enhance motivation. What this paper adds: Compares traditional teaching methods for concrete structures interpretation with virtual reality.Establishes correlations between motivation, performance and usabilityIntroduces how desktop‐based VR and head‐mounted display VR can produce varying results. Implications for practice and/or policy: Decision‐makers can use the information to integrate updated pedagogy into engineering curricula.Allows for further exploration of different digital technologies that can be used for concrete structure interpretation.Allows instructors to introduce virtual reality in their courses. [ABSTRACT FROM AUTHOR]

There is continuous debate on the role of digital media tools in art and design Higher Education, and in particular their potential contribution towards teaching and learning. The related literature indicates that there is a dichotomy between digital and traditional tools. This study investigates the views of a cohort of art and design students who undertook a specific instructional task, but instead of using paper and pencil, they used iPads. It is claimed that this computer tablet has considerable potential to enhance teaching and learning, and this study sought to investigate this claim. Inductive qualitative content analysis was used to analyse the interviews provided by 32 ( n = 32) students. Based on the categories that emerged from the analysis of interviews, and within the parameters of this study, the main inference is that the relationship between digital and traditional tools can be better understood as complementary rather than as a dichotomy. A video abstract of this article can be viewed at [ABSTRACT FROM AUTHOR]

Creative and feminist geographers position listening as a way to build more responsive, ethical, and reciprocal relations to people and environments. In this paper I argue that for geographers to situate listening – in the broadest definition as 'sensing, attuning, and noticing' – as part of a creative approach to reparative practice, we must first understand how Anglo‐European modes of listening and interpreting the world through sound are shaped by 'sonic colonialities'. These are encultured ways of apprehending and narrating environments that are derived from the Eurocentric fetish for pre‐colonial natures, imagined as discrete, unmediated, and possessable. Given the now prolific interest of geographers in sonic practices, this paper argues for a closer and more critical attention to how listening and sound methods are inherently determined by sonic colonialities. Using the example of field recordings, I show how such practices create and perpetuate divisive ideas of nature and place within contemporary ecological sound art. For geographers to situate listening – in the broadest definition as 'sensing, attuning and noticing' – as part of a creative approach toward reparative practice, we must first understand how Anglo‐European modes of listening and interpreting the world through sound are shaped by 'sonic colonialities'. These are encultured ways of apprehending and narrating environments that are derived from the Eurocentric fetish for pre‐colonial natures, imagined as discrete, unmediated, and possessable. Using the example of field recordings, I show how such practices create and perpetuate divisive ideas of nature and place within contemporary ecological sound 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]

The purpose of this paper is to investigate the visual communication impacts of Johannes Itten's widely disseminated color contrasts in the fields of art and design. Johannes Itten (1888–1967), former professor at Weimer Bauhaus, has made an unquestionable contribution to art and design with his color concepts, nonetheless, when reading his book, it is notable the lack of scientific and academic research underlying the concepts. Checking the visual communication impacts of Itten's seven color contrasts, specifically, is appropriate in a sense that these, with respective scientific background, may represent important basic color principles. In order to find foundation for the color contrasts, bibliography on perception and neuroscience was investigated. It was intended to distinguish color principles that tend to be common to all human beings, due to the nature and physiology of the human brain and eye, from other color principles which are not naturally common to all. An empirical study was conducted with a printed questionnaire as an analytical instrument. This questionnaire was developed in order to evaluate the subjects' perception on the visual communication impacts of each of Itten's color contrasts. This questionnaire was applied to 300 subjects, classified into different categories: age, gender, color blindness, and professional area. Analysis of these questionnaires comparing the subjects' categories offers inputs for the conclusion that the visual communication impacts tested using Itten's color contrasts are independent of age, gender, or professional area, thus tend to be considered as basic color principles for art and design. [ABSTRACT FROM AUTHOR]

Inspired by the use of naming and portraiture together in the Black artivism–such as that protesting the murders of George Floyd and Breonna Taylor–this paper reflects on the use of portrait drawing as a practice of genealogy. While working on a project to raise the visibility of scholars and their works in the African Diaspora, specifically Francophone women anthropologists, I felt compelled to draw their portraits. Drawing African Diasporic women into dialogue from the archive attends to temporality, vision, and listening, elements centered within anthropological practice, but also implicated in the attachment of the discipline to colonial logics, particularly of allochronism, objectification and silencing. The multisensory, embodied and slow practice of drawing alongside reading scholars' works allows for diasporic time‐travel, shifting the gaze, and constructing a decolonizing "listening genre". [ABSTRACT FROM AUTHOR]

In responding to the three creative interpretive discussions in the symposium on my book Philosophy and the Art of Writing, this paper explores the different styles of philosophical discourse and their role in the practice of philosophy as a way of life that extends beyond the discursive and that combines self‐cultivation with care for others in the ethical‐aesthetic pursuit of living beauty. In advocating this aesthetic model of philosophical life over a purely therapeutic model, I suggest how the former can incorporate the latter's concerns for spiritual health and liberation. In developing my response to the symposiasts while elaborating on the themes of my book, I consider issues of ineffability, creative performance, embodiment, truth, heroism, vulnerability, possession, art, spirituality, love, and liberation. [ABSTRACT FROM AUTHOR]

This response to Richard Shusterman's Philosophy and the Art of Writing focuses on his concern that philosophy is, first and foremost, a way of life, illustrated in the West by the Socratic ideal of the philosopher and in the East by the example of the scholar‐artist‐gentleman. This paper examines the process of Buddhist meditation and the process of creating novels, supplementing the authors Shusterman carefully examines with examples from Black American literature, the author's own teacher John Gardner, and artistic colleagues the author has known. The basic thrust of the response is that the skillful means used in writing can indeed be a form of self‐creation, but it can also be a means of liberation from the self. [ABSTRACT FROM AUTHOR]

This article investigates the ways in which drawing is taught and assessed in post‐16 UK schools and colleges, with a particular focus on A Level art and design courses. Through an historical survey of the development of syllabi and assessment methods, it traces how the role of drawing in the curriculum has changed over the past sixty years. From a series of prescribed observational drawing exercises, the A level exam has evolved into a holistic exploration of each student's creative process, and drawing is now seen mainly as an integral part of that process. The article demonstrates how the art history element of the syllabus has also been gradually integrated into practice, and thus into the drawing process itself. Questions are raised about how these changes have influenced the nature of the portfolios which students entering higher education bring to interview. In short, this article seeks to answer the question: do we now teach and assess observational drawing skills 'through a glass darkly', obscured by other considerations within the art educational curriculum? [ABSTRACT FROM AUTHOR]

The structure of the human body and its parts is of obvious relevance in medicine, but it has also played a role in art. Accurate observation of surface or external anatomy is essential in both disciplines, and its understanding has been enhanced by knowledge of what is found beneath the skin, the internal anatomy, usually based on dissection. The role of anatomy in art in general, and in academies of art in particular, is the theme of this paper. The revival of dissection in 14th‐century Italy was, if not causative, at least coincidental with the Renaissance. In 1563, Vasari founded the Accademia del Disegno in Florence, with una Anatomia included in its regulations. As a liberal art taught by university graduates, anatomy helped raise the status of painters and sculptors from artisans to artists and from guild to academy. Anatomy teaching was required in subsequent academies in Rome (1593) and Paris (1648), where the pattern of drawing from drawings, from casts, and from life was established and a Professor of Anatomy appointed in 1777. Anatomy was central to two of the Academy's most important genres, history painting and portraiture. The Academy system, with its emphasis on anatomy, spread to other European cities and to the Caribbean and the Americas from the 17th to the 19th centuries. This paper is concerned with the role of anatomy in the founding of art academies in general, while its companion paper, 'A Tale of Two Cities', considers the cases of the academies in London and Dublin in particular. [ABSTRACT FROM AUTHOR]

This paper examines the multiple materialities of the performing arts and their transnational migration. In contrast to the majority of scholarship on the geographies of performance, which focuses on the space of the body, this paper provides an analysis of performance and materiality that encompasses, but also extends beyond, the corporeal through its attention to the material qualities of costumes, scripts and performance form. In conducting this analysis, the paper draws attention to the differential movement of performance work more widely by focusing on their composite materialities. Such an approach extends our apprehension of what the geographies of performance, and the geographies of art more widely, might be, and draws attention to under-investigated spheres of creative activity. [ABSTRACT FROM AUTHOR]

Urbanization has amplified the importance of three‐dimensional structures in urban environments for a wide range of phenomena that are of significant interest to diverse stakeholders. With the growing availability of 3D urban data, numerous studies have focused on developing visual analysis techniques tailored to the unique characteristics of urban environments. However, incorporating the third dimension into visual analytics introduces additional challenges in designing effective visual tools to tackle urban data's diverse complexities. In this paper, we present a survey on visual analytics of 3D urban data. Our work characterizes published works along three main dimensions (why, what, and how), considering use cases, analysis tasks, data, visualizations, and interactions. We provide a fine‐grained categorization of published works from visualization journals and conferences, as well as from a myriad of urban domains, including urban planning, architecture, and engineering. By incorporating perspectives from both urban and visualization experts, we identify literature gaps, motivate visualization researchers to understand challenges and opportunities, and indicate future research directions. [ABSTRACT FROM AUTHOR]

Current methods used to investigate emotional inference and conflict resolution knowledge are limited in their suitability for use with children with language disorders due to a reliance on language processing. This is problematic, as nearly 8% of the population are estimated to have developmental language disorder (DLD). In this paper, we present 'Zoti's Social Toolkit', a set of animated scenarios that can be used to assess emotion inferencing and conflict resolution knowledge. All animated scenarios contain interpersonal situations centred around a gender‐neutral alien named Zoti. Four studies investigated the face and construct validity of the stimuli. The final stimulus set can be used with children, who may or may not have language difficulties and is openly available for use in research. [ABSTRACT FROM AUTHOR]

The growing scholarship on settler colonialism largely understudies aesthetics. Settler colonial logics work not only through the elimination, dispossession, and criminalization of Indigenous populations but also through the erasure of Indigenous narratives and aesthetics. Aesthetics communicate a particular system of knowledge and power that can either refute or perpetuate settler colonial projects. I use the term "settler aesthetics" to foreground an understanding of aesthetics as dynamic socio-spatial practices through which state and non-state actors assert power, construct particular visions of a city, and shape conditions of belonging. Settler aesthetics demonstrate how the logic of elimination and the work of settler memory reproduces and is reproduced through various visual modalities. I argue that as geographers, we must examine both contemporary settler colonial projects that continue codifying cities as purely settler spaces without Indigenous presence and resistance, and spaces that insist on Black, Latinx, and Indigenous presence and livingness. This paper therefore explores how scholarship on decolonizing and anti-colonial art practice and theory can inform emerging scholarship on settler colonial urbanism that centers perspectives and practices of Black and Indigenous presence and resistance. [ABSTRACT FROM AUTHOR]

In this paper, I propose sculpting as an analogy for information use. I provide a background to the use of metaphors and analogies in Information Science, propose five analogical mappings between sculpting and information use, and then discuss the benefits to this analogy for thinking about how we use information. [ABSTRACT FROM AUTHOR]

Objective: To articulate how Aboriginal community‐controlled art centres support the role of Elders and older people within an ontologically situated, intergenerational model of care. Methods: In this paper, we draw on stories (data) generated through interviews involving 75 people associated with three Aboriginal community‐controlled art centres and field notes taken during a Participatory Action Research (PAR) study. The study was undertaken in collaboration with three community‐controlled art centres and two aged care providers over almost 4 years, in diverse Indigenous sovereignties, all located in geographically remote Australian locations. Results: Engaging with decolonising and Indigenous theoretical frameworks, our analysis identified three interwoven meta‐themes. These include connection to law and culture; purpose; and healing. Each theme had important subthemes, and all were central to upholding the well‐being of older people and their families, as well as the art centre workforce, Country, and their broader communities. Conclusions: Our analysis articulates an ontologically situated model of care within Aboriginal community‐controlled art centres. The model sees that older people receive care from art centres and provide care to each other, to younger generations, to art centre staff, to Country, and to their broader communities. In this model, those in receipt of care, many of whom are older people, art centre directors, and important artists, govern how care is conceptualised and delivered. [ABSTRACT FROM AUTHOR]

Accessible summary: ●This paper reports the experiences of primary school students with intellectual disabilities in Yogyakarta, Indonesia, during transitions within various contexts such as from "regular school" to "inclusive school," from special class to regular class and from one year level to the next year level after experiencing year(s) of grade retention.●Students with intellectual disabilities together with their typically developing peers were involved as co‐researchers using drawings and photographs to research their educational and social experiences and report their views.●Educational transitions are rarely discussed or taken into account in the Indonesian context.●The views of the students with intellectual disability in this study are a significant contribution to the development of meaningful inclusive education in the Indonesian context, which at this time continues to represent exclusionary practices or divisions between "regular children" and "inclusion children." Background: Within the emergence of inclusive education in Indonesia, transitions take on various forms impacting the educational and social lives of students. This paper reports the experiences of primary school students with intellectual disabilities during transitions in various contexts. Methods: An initial period of research used arts‐informed methods to support the students to capture their journey in education. While the voice of students about inclusive education was captured through photographs, drawings and conversations, students were supported to undertake a personal research project. Results: Students shared a range of experiences and feelings in the interviews using the photographs and drawings as prompts. Some reported on being expelled from regular school as a result of failure to meet academic standards and transitioning to "inclusive school." These "inclusive schools" moved the students from special to the regular classroom, and back, based on their academic performance. While students valued the opportunity of having more friends in the regular class, they voiced a preference for the special classroom for social interactions. Some students reported their experiences of being retained at year level for lack of progress in a rigid curriculum. Students expressed their conflicting emotions of sadness when retained, of happiness when promoted and despair at the level of learning support provided to "survive" in the higher year level. The students also provided insight into the identity of students with intellectual disabilities as impacted by transition experiences. Conclusions: Transitions, and barriers to transitions, come in varying forms, and students with disabilities contextualise and report them in different ways. [ABSTRACT FROM AUTHOR]

The use and creation of machine‐learning‐based solutions to solve problems or reduce their computational costs are becoming increasingly widespread in many domains. Deep Learning plays a large part in this growth. However, it has drawbacks such as a lack of explainability and behaving as a black‐box model. During the last few years, Visual Analytics has provided several proposals to cope with these drawbacks, supporting the emerging eXplainable Deep Learning field. This survey aims to (i) systematically report the contributions of Visual Analytics for eXplainable Deep Learning; (ii) spot gaps and challenges; (iii) serve as an anthology of visual analytical solutions ready to be exploited and put into operation by the Deep Learning community (architects, trainers and end users) and (iv) prove the degree of maturity, ease of integration and results for specific domains. The survey concludes by identifying future research challenges and bridging activities that are helpful to strengthen the role of Visual Analytics as effective support for eXplainable Deep Learning and to foster the adoption of Visual Analytics solutions in the eXplainable Deep Learning community. An interactive explorable version of this survey is available online at https://aware‐diag‐sapienza.github.io/VA4XDL. [ABSTRACT FROM AUTHOR]

In this paper I present an experimental project carried out at The University of Western Australia's art and science organisation, SymbioticA. The paper looks to the embodied practice of learning to make bioart through consideration of the tools and protocols required in the making process. In so doing, the paper traces through the process of "making" by attending to the sense of touch in the laboratory. As an analytical guide, I work through Polanyi's concept of tacit knowledge, which I approach through a focus on the sense of touch, to consider the ways in which proximate knowledge is generated at SymbioticA between artist, objects and subjects. This is knowledge that not only emerges to enable the experimental project, but which also re‐works it. Such an approach provides mechanisms for close consideration of the various actants with which knowledge is generated. In so doing, I offer a post‐phenomenological account of embodied practice in the space of the laboratory to think through the roles of the somatic senses and non‐human others, as well as artists themselves, in the acquisition of knowledge at SymbioticA. Deploying an experimental project as research method is, I argue, a valid methodological manoeuvre for geographic studies into experimental spaces such as the laboratory as it enables unforeseen lines of inquiry to emerge through "doing." This paper looks to the embodied practice of learning to make bioart through consideration of the tools and protocols required in the making process. As an analytical guide, I work through Polanyi's concept of tacit knowledge, which I approach through a focus on the sense of touch, to consider the ways in which proximate knowledge is generated at SymbioticA between artist, objects and subjects. In so doing, I offer a post‐phenomenological account of embodied practice in the space of the laboratory to think through the roles of the somatic senses and non‐human others, as well as artists themselves, in the acquisition of knowledge at SymbioticA. [ABSTRACT FROM AUTHOR]

In the newest installment of the new Medical Education Connections series, Brown and Younie juxtapose recent findings to offer insight into how to nurture person‐centredness. [ABSTRACT FROM AUTHOR]

Children have the right to voice views on matters that impact their lives, including writing disability. In this study, five children diagnosed with dysgraphia used art‐based research to depict their experiences of dysgraphia. The children described the impossibility of transferring ideas from head to paper and the difficult emotions associated with writing. The results highlighted a symbiosis between writing and identity, with dysgraphia adversely impacting the children's identity development. The study highlights the value of using art to communicate children's perceptions, aligned with inclusive practices. The insights shared offers caregivers, educators, and others scope to develop affirmative writing practices. [ABSTRACT FROM AUTHOR]

Issue Addressed: As the population ages the prevalence of dementia increases and children are increasingly experiencing family members and older friends living with dementia. Unfortunately, stigma about living with dementia is common. Increasing understanding about dementia among children has the potential to reduce this stigma. This paper reports on the qualitative findings of Project DARE (dementia knowledge, art, research and education), a school‐based, multi‐modal, arts program designed to increase understanding about dementia among children aged 8–10 years. Methods: A constructivist grounded theory approach was used to understand students' experience of the intervention. Thematic analysis was used to identify key themes emerging from interviews with randomly selected students (n = 40) who had taken part in the program. Results: The data analysis generated three themes related to students' awareness of dementia and experiences of the program: (1) nurturing empathy, (2) memory loss is complex, (3) learning about dementia through the arts to promote resilience. These themes show that the intervention increased students' awareness of dementia, and empathy towards people who are both directly and indirectly affected by dementia. Conclusions: Although dementia education can be viewed as too sensitive for primary aged students, the current study demonstrates that such initiatives are feasible and can be effectively implemented with this age group. So What?: Changing student's beliefs about dementia can positively impact their relationships with people living with dementia. [ABSTRACT FROM AUTHOR]

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Whilst the link between young people's well‐being and the creative arts is strengthening, there is a lack of research which focuses on the roles that artists play to help teachers and parents engage young people in the creative arts. This paper explores the benefits of and barriers to artists working in education in six European countries (England, Iceland, Germany, Greece, Italy and Austria). Using the '5A's model of creativity' and a view of professional development taking place within 'landscapes of practice', the data were analysed in order to explain how creativity is operationalised in the different contexts. Our study highlights the need for policy at a national and transnational level to value the creative arts in order to help teachers cross boundaries and utilise the full potential of the creative arts in schools. Our study also highlights that further research is needed into how artists shape teaching and curriculum and how schools engage parents in the creative arts in order to build an evidence‐base relating to young people's positive mental health that can affect policy at these levels. [ABSTRACT FROM AUTHOR]

The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non‐contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes their aesthetic evaluation and appreciation. This is why and how art is non‐contingently related to pleasure. Call this, the Affective View. While I don't advance conclusive arguments for the affective view in this paper, I aim to reassess its prospects by (1) undermining central objections against it, (2) dissociating it from hedonism about the value of artworks (the view that this value is grounded in, and explained by, its possessors' power to please), and (3) introducing some observations on the practice of art in support of it. Given that the objections I discuss miss their target, and given the observations in support of it, I conclude that the affective view is worth serious reconsideration. [ABSTRACT FROM AUTHOR]

This paper presents data from a unique longitudinal study exploring the visual art experiences of nine children in two Scottish primary schools. Using a theoretical lens of cultural capital, the study is focused on spaces where children experience visual art and the value of these experiences, using arts‐informed, visual methods. While each child presented a particular insight, the findings question the value of current school visual art experience over other spaces. The findings also demonstrate the capacity of children to resist the control of cultural capital by adults, engaging with visual art on their own terms. [ABSTRACT FROM AUTHOR]

As an Ammani café became a popular hangout for artists, artists' social practices were reshaped by the spatial affordances of the café. This paper examines the ways that relationships between artists changed through this spatial rearrangement, exploring the political consequences of those changes. It compares three successive, distinct topologies of social practice within Jordanian art, including a dispersed practice of visitation between artists, a concentrated practice of café sociality, and a third practice spread across an emerging artistic neighborhood. It shows how each spatialization affects power relations within the art scene along lines of class, geography, and gender, and also transforms artistic productivity. Showing how spatial rearrangements transform the political conditions of Amman's art scene, this paper highlights a fluid and contingent urban politics where the stakes of inclusion and action are perpetually changing. [ABSTRACT FROM AUTHOR]

This paper conceptualises practice in the space between and beyond Art & Archaeology as a zone where disciplinary certainties and known practices are unsettled, expanded and re‐cast. We will outline our current thinking about heritage landscapes as places and temporalities for engagement in the practice of what Henk Slager calls the para‐archive. For us, landscape functions as a kind of living archive, however, following Jacques Derrida, we are sceptical of the privileged relation between archive, law and authority. Therefore, in this paper we will think through our interdisciplinary research in the context of the development of creative para‐archives, which facilitate new, affective ways of thinking and making by bringing together the previously unimagined. Responding to the challenge of the SARS‐CoV‐2 discomfort zone, we seek to surface creative practices, activate archival disruptions and expand pedagogical approaches to the articulation of uncomfortable archival landscapes. The pandemic has brought into sharp focus the need to re‐conceptualise visions of space, experiences of place and archival practices. During a virtual fieldtrip students accessed a range of materials from Scotland's National Record of the Historic Environment. We aimed to enable the co‐design and co‐production of a virtual fieldtrip, followed by discussions about our collective conceptualisations of landscapes of discomfort. The archaeological fieldwork in the virtual realm provides a context for students to engage in desirology as a catalyst for deranging, re‐associating and re‐imagining the archive in creative ways. [ABSTRACT FROM AUTHOR]

Luhmann's general systems theory is based on the concept of autopoietic closed systems. However, social changes, globalization and digitization currently constitute factors of change that require a critical review of this theory. Although moving in the functionalist and systemic tradition, this paper aims to address the problem not of system reproduction but of system transformation, with the focus shifting from the system to its boundaries. This paper considers the use of binary codes for the communicative boundaries of systems, suggesting that rigid ‘binary codes’ be replaced by a communication code that includes shades between the two extremes, or better: a trade‐off relation. The goal is to align the system to the necessary sustainable development, according to environmental changes. Methodologically, the discussion begins with a concrete example of three partial systems: the legal system, art and mass media. The paper then proposes a logical demonstration and an artistic demonstration through the interpretation of the artworks of M.C. Escher. © 2018 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

Christopher Meredith's novel Shifts (1988) is firmly established in the canon of English‐language Welsh literature as one of the most accomplished representatives of (post‐)industrial fiction, a genre this small country has produced in quality and amount 'out of all proportion to its size or population' (Knight, 2004). The aim of this paper is to explore the role of the medieval Mappa Mundi which two characters see in Hereford Cathedral in the context of the novel's circular structure and a rich network of other visual insets. Looking at the map from a variety of perspectives, including Murray Krieger's concept of ekphrasis as the superimposition of spatial relationships on a text by a visual work of art, I propose to read the fictional continuum of the novel as a mirror image of the medieval orbis terrarum on several planes: compositional, visual‐optical and symbolic. This reading is embedded within the broader context of the characteristics of the Welsh industrial novel discussed by Raymond Williams in his essay 'The Welsh industrial novel' (1979). [ABSTRACT FROM AUTHOR]

In this paper, Andrea Fiore sketches the notion of familiarity in Dewey's thought, particularly in its relations with education, aesthetics, and art. The importance of that notion emerges in Dewey's well‐known writings such as How We Think, The School and Society, and Art as Experience, where he shows that not only does familiarity play a fundamental role in our lives, but it also constitutes a helpful tool to make our experience deeper and richer. This is particularly evident in two aspects or functions related to familiarity: recognition and interpretation. For Dewey, especially the latter has an educational value through aesthetics and art, because it allows us to activate the peculiar capacity of human beings to transform the quality of experience. [ABSTRACT FROM AUTHOR]

Friendship is a central focus in children's lives and is important for healthy development. During the Covid‐19 pandemic, children experienced restrictions on their interactions with friends. This research heard the voices of 10 children (7–11 years) in England regarding their friendships, drawing on data collected through creative participatory methods including drawings, photography and collages, and accompanying unstructured interviews. Findings provide new insights into how children endeavoured to maintain their friendships through virtual interactions, street/doorstep visits, and artwork, and how friendship disruption affected their well‐being. This paper argues for educators to heed the implications for the period of 'Covid recovery'. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Analytical Psychology is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The intuitive connections between global cities of finance and global cities of art have been repeatedly asserted. However, systematic analyses of how both geographies conjoin in major cities remain thin on the ground. The purpose of this paper is to analyse the geographical intersections between renderings of global cities as key sites for the coordination and accumulation of global capital and visions of these cities as international art hubs. To this end, we develop a 'global arts centre' ( GAC) index in which cities are assessed in terms of their centrality in 'field-configuring events', such as festivals, biennials and fairs. This GAC ranking and a number of art sector-specific disaggregations are then compared with the 'global financial centre' ( GFC) index established by Z/Yen Group by means of correlation analysis. Cities featuring in both rankings are labelled 'global cultural cities' ( GCCs). We find that the parallels between both indices within the top-tier rank positions are considerable. The rank correlation between the art and finance indices suggests a clear positive association between both. Most GCCs are located in Europe, Pacific Asia and Northern America. The most notable geographical pattern is the prominent presence of GCCs in Pacific Asia, suggesting the rapidly changing economic environment in this region has complemented interest and investments in high-end art. We conclude the paper by singling out some key research agendas that may further inform the empirical analysis presented in this paper. [ABSTRACT FROM AUTHOR]

This paper contributes to a burgeoning concern with the 'critical geographies of architecture'. The central argument is that recent architecture-geography encounters - inspired by non-representational approaches to material mutability and affective inhabitation - are failing to connect with socio-political framings of the architectural. In this light, the paper aligns Gordon Matta-Clark's architectural artwork Conical Intersect (1975) with the Deleuzo-Guattarian axiom of micropolitics and macropolitics to re-insert the architectural subject as a microtexture of political forms imbued with (1) asymmetrical assemblages of material volatility, (2) restricted capacities of 'dwelling or being with' architecture and (3) bounded notions of living affectively. I suggest Conical Intersect foregrounds architectural space as a meeting of dreamworlds and institutional effects. In its piercing of that space of interaction, the artwork produces an architectural form freed from the conventions of legal and physical constraints to suggest the potency of alternative modes of living with and living in architecture that should be of primary interest to critical geographies of architecture and beyond. [ABSTRACT FROM AUTHOR]

In the present paper we argue that Sigmund Freud's analysis of mental disorders is based almost exclusively on language and thus it omits other semiotic modalities, prominently visuality. Freud's psychoanalytical theory originates in the discovery that the speech of mentally ill patients is a basis for their treatment. A psychoanalyst is an interpreter who 'translates' patient's speech into expression of original, suppressed thoughts. However, this analytical process was never applicable on psychotic patients, since their speech and thought processes are often distorted. This insistence on language can be limiting. Patients can produce 'material' for interpretation not only in a form of language, but for instance in a form of visuality. In this respect, art brut, the visual art of the mentally ill, can be analyzed. But in order to do so, we have to reconsider Freud's original concept of translation of one level of signs (neurotic symptoms) into another (basis of the neurosis). An analysis of visual art of the mentally ill can rather focus on the relations between specific signs of the painting in order to understand how psychosis works. The paper provides general remarks and examples of such an analysis. Copyright © 2016 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

Many studies, across various disciplines, have confirmed that artistic and cultural programs can significantly improve the experience of persons with dementia. While drawing on this data, this paper takes a different angle. It asks what lessons art practiced in the context of dementia care can teach us, as thinkers, carers, policymakers, friends, and all those with the interests of people with dementia at heart. It then argues that these lessons are threefold: firstly, they teach a strikingly actual lesson on the contemporary theories of rationality; secondly, and most importantly, they are a valuable lesson about what we owe each other, about the meaning of solidarity, citizenship, and the fundamental features of a decent society, and thirdly, they give an unusual insight into the theory of art and its meaning in the constitution of solidarity. All of these arguments amount to the conclusion that social practices of solidarity can be salutary both to persons with dementia, and also to the paradoxes of contemporary healthcare and some of the maladies of today's society. Fulfilment of the duties of solidarity (for example, by introducing participatory art programs in dementia care settings) does not require major financial expense. It does, however, require a lot of moral imagination, for which this paper advocates., (© 2020 John Wiley & Sons Ltd.)

Many Western art music composers have taken advantage of tabulated data for nourishing their creative practices, particularly since the early twentieth century. The arrival of atonality and serial techniques was crucial to this shift. Among the authors dealing with these kinds of tables, some have considered the singular mathematical properties of magic squares. This paper focuses on a particular case study in this sense: Philippe Manoury's Third String Quartet, entitled Melencolia. We mainly analyse mainly several strategies conceived by the French composer – through his own sketches – in order to manipulate pitches and pitch‐classes over time. For that purpose, we take advantage of Klumpenhouwer networks as a way to settle wide and dense isographic relationships. Our hyper‐K‐nets sometimes reach a total of 32 arrows that allow geometrical arrangements as tesseracts in which their different dimensions cluster related families of isographies. In doing so, we aim to provide an instructive example of how to contextualise K‐nets and isographies as powerful tools for the analysis of compositional practices. [ABSTRACT FROM AUTHOR]

This paper explores philosophy in its relation to other disciplines and practices that also seek to understand the distinctive nature of human persons. It begins with a consideration of the nature of philosophy, arguing for a pluralistic conception reflecting different ends, and relating these to art, politics, religion, and science. It illustrates this via connections between the thought and work of Andy Warhol and Arthur Danto, Wagner and Nietzsche, and Roger Scruton and James MacMillan. It then shifts to a fifth methodological conception of philosophy as the discipline of disciplines, specifically in clarifying concepts and presuppositions, and relates this to marking the boundaries of personhood. Finally, it explores a particular example of philosophy in relation to another practice, art, this time giving priority to art itself. [ABSTRACT FROM AUTHOR]

An introduction to articles in the issue is presented on topics including the need for systems science to overcome its fragmented condition and to deepen its scientific foundations, phenomenological foundations of systems engineering and systems science, and principles from humanities that have relevance for thinking about systems.