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Paper-based works of art and documents of cultural importance kept in museums and libraries can show notorious signs of deterioration, including foxing stains, caused by fungal colonization. Some of the main chromophore agents of fungal origin that deteriorate paper and therefore affect paper cultural heritage both aesthetically and structurally are the group of pigments called melanins. Thus, knowledge of the diversity and features of fungal melanins and of the melanization pathways of fungi growing on paper is key to removing these pigments from paper-based works of cultural importance. This review provides an approach about the current knowledge of melanins synthesized by paper-colonizing fungi, their localization in the fungal structures, and their role in the deterioration of paper. This knowledge might contribute to developing new, effective, and sustainable strategies of restoration and conservation of historical documents and works of art based on paper.

Research in restoration and conservation is directed vs. more sustainable working materials, methods and technologies. Electrophoretic removal, from porous material, of undesired stains due to charged species is theoretically an interesting alternative to chemical cleaning methods, but the lack of specific and comprehensive research work leads to controversial opinions about the efficiency and the needed harmfulness for the treated objects. In this work paper, samples with artificial rust stains were subjected to electrophoretic cleaning treatments in mineral water as electrolyte. Treatments were carried out either in a bath by complete sample immersion between the distanced electrodes or by sample wetting and sandwiching between the electrodes. Evaluation of cleaning efficiency and treatment effects was based on colour change measurements (image analysis of scanned paper samples before and after the treatment and by colorimetric data via spectrophotometric measurements), investigation of morphological changes by SEM observations and folding endurance measurements.

The removal of old glue from paper artworks is of paramount importance for the preservation of its integrity during the restoration process. Wet cleaning is one of the traditional methods, although it may cause damages on artworks. In this work, an advantageous alternative method, based on the use of a rigid hydrogel, for a simple and localized removal of starch paste from paper supports is presented. The use of an appropriate hydrogel allows to overcome many of the problems faced by restorers minimizing damages, through a controlled release of water to the artwork, and a simple and not invasive application and removal. At the same time, the specific and targeted enzyme activity leads to a significant reduction in the application time of the cleaning procedure. In this context, experiments were carried out applying Gellan hydrogel carrying α-amylase enzyme on several paper samples soiled with starch paste. To assess the cleaning efficacy of the proposed hydrogel, we have used a multidisciplinary approach, by means of spectroscopic techniques, scanning electron microscopy, chromatographic analysis, and pH investigations.

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This paper examines the Confucian concept of learning, or xue ([character omitted]), from the perspective of ecological humanism. Through a comparative interpretation, this paper attempts to disclose the significance of Confucian xue conceived as a practice of aesthetic appreciation and creativity, emphasizing in particular its function within an eco-centric worldview. The author reviews the relevant concepts of ecological humanism as expressed in the ideas of John Dewey and Thomas Alexander, then applies these as a theoretical framework for interpreting xue and its related concepts and practices as they appear in the Confucian text the Lunyu ([characters omitted] ). It is argued that xue is a process of developing and expressing virtuosity and artistry in the "arts of life," and that its practice was understood as a direct participation in the creative development of nature. The significance of such a concept of learning for contemporary educational philosophy is discussed in conclusion.

Researchers in the mind sciences often look to the production and analysis of drawings to reveal the mental processes of their subjects. This essay presents three episodes that trace the emergence of drawing as an instrumental practice in the study of the mind. Between 1880 and 1930, drawings gained currency as a form of scientific evidence - as stable, reproducible signals from a hidden interior. I begin with the use of drawings as data in the child study movement, move to the telepathic transmission of drawings in psychical research and conclude with the development of drawing as an experimental and diagnostic tool for studying neurological impairment. Despite significant shifts in the theoretical and disciplinary organisation of the mind sciences in the early twentieth century, researchers attempted to stabilise the use of subject-generated drawings as evidence by controlling the contexts in which drawings were produced and reproduced, and crafting subjects whose interiority could be effectively circumscribed. While movements such as psychoanalysis and art therapy would embrace the narrative interpretation of patient art, neuropsychology continued to utilise drawings as material traces of cognitive functions.

The intersection of art and science is a space useful not only to communicate scientific concepts to the general public but also to allow those of us studying biology in depth to view our work in a different light. I myself enjoy playing with the universality of anatomy, that is its bits and pieces that compose every human being. In mixing these with an array of mediums, colours, and textures, I hope to evoke a multiplicity of emotions in the viewer.

The article discusses the art of paper tearing by Hong Kong-based paper-tearing artist Sing Man Lee in his aim to create a bridge between contemporary life and traditional Chinese cultures. Other topics include how Lee made his first paper-tearing artwork, how the art can improve a person's confidence, and an exploration of Lee's artwork through the National Visual Arts Standards.

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]

In this reflective paper we outline and discuss our art-based Patient and Public Involvement (PPI) approach. This exercise held two broad objectives. Firstly, to assist policy makers in understanding the types of interventions communities will find acceptable to address the problem of poor air quality, and secondly, to ascertain community views about our research plans to explore the impact of the planned interventions on neighbourhoods. We reflect on both our approach and the emergent conversations from the PPI activity. Attendees contributed to the process and stressed the importance of not burdening poor neighbourhoods with costly charges as that would ameliorate one health problem but generate others as a consequence of additional financial burden. Equally, they stressed the need to conduct research on matters which they could connect with such as the impact of clean air plans on young children and how information about air pollution is disseminated in their neighbourhoods as and when research findings emerge. This paper offers a conceptual analysis of the art-based PPI method and uniquely draws a connection to the philosophical traditions of Ludwig Wittgenstein. Specifically, we demonstrate how art is conducive to creating a dialogue which is specifically helpful for PPI purposes for both researchers and implementers, and conversely, why traditional conversational approaches may have fallen short of the adequacy mark in this regard.

The archive of the Universidad de Costa Rica maintains a nineteenth-century French collection of drawings and lithographs in which the biodeterioration by fungi is rampant. Because of nutritional conditions in which these fungi grew, we suspected that they possessed an ability to degrade cellulose. In this work our goal was to isolate and identify the fungal species responsible for the biodegradation of a nineteenth-century art collection and determine their cellulolytic activity. Fungi were isolated using potato-dextrose-agar (PDA) and water-agar with carboxymethyl cellulose (CMC). The identification of the fungi was assessed through DNA sequencing (nrDNA ITS and α-actin regions) complemented with morphological analyses. Assays for cellulolytic activity were conducted with Gram's iodine as dye. Nineteen isolates were obtained, of which seventeen were identified through DNA sequencing to species level, belonging mainly to genera Arthrinium, Aspergillus, Chaetomium, Cladosporium, Colletotrichum, Penicillium and Trichoderma. For two samples that could not be identified through their ITS and α-actin sequences, a morphological analysis was conducted; they were identified as new species, named Periconia epilithographicola sp. nov. and Coniochaeta cipronana sp. nov. Qualitative tests showed that the fungal collection presents important cellulolytic activity.

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]

This paper reveals the journey of two settler-researcher-educators supporting learning in preparation for Carey Newman's Witness Blanket Art Exhibit. Invited to create curriculum for students and educators of K-12 who would visit the exhibit, the authors describe co-curricular making as a living, re-generative, re-cursive experience. The learning alongside diverse perspectives of educators and community partners in circle--including Syilx Okanagan, School District, Art Gallery, Museum, and University-led to reconsidered understandings of co-curricular making. Relational commitments that invite co-curricular engagement with the Witness Blanket foreground Syilx Knowledge toward resisting colonial ways, and supporting tmix[superscript w], the life forces of Syilx Okanagan Territory.

Thermal cameras have shown to have utility in secondary school classrooms and undergraduate courses. In this paper, the author argues for their potential in the primary school classroom and presents a range of activities that can be undertaken with thermal cameras (or supplied images). With limited access in mind, the activities in this paper have been designed to be practiced in 'demonstration mode' with only one thermal camera or even by using a bank of existing photographs made available to teachers and students. Activities can be modified for individual use or for use in small groups if students have one-to-one access to the cameras.

The composer, author, and teacher, John Cage, was exercised by our 'inability' to truly listen when approaching sound. In exploring the influences on Cage's avant-garde style, specifically the spiritual discipline found in both Zen Buddhism and Chance operations, this paper attempts to distinguish his philosophy (and use) of "silence" and "chance" as an aesthetic pedagogy. In accordance with Dewey's aesthetic theory and Shusterman's Somaesthetics, resolving the inability to listen is aesthetically conceived as somatic 'attuning' to the occurrence of chance sounds in the ambience of the world. By maintaining Cage's spiritually informed approach as a compositional framework, this paper highlights how his philosophy of silence is pedagogically illustrative of the "active" engagement we can have with the world. This approach is most apparent in Cage's "4'33"," where the 'musicalizing' of everyday sounds erodes the boundaries between art and life, creating a continuity with the world. Somewhat problematically, Cage attempted to make this possible by channelling experience into a state of immersion, unifying art and life by 'letting go' of subjectivity. But as is shown by the Fluxus artists who were inspired by Cage's teachings, the possibility for negotiating Cage's terms brings with it an opportunity to theoretically reflect on the educational processes that underpin Cage's approach to sound.

This paper seeks to introduce a meaning-making process called 'sensuous abstraction' as one approach to aesthetic experience in line with Dewey's philosophy. Dewey highlights aesthetic experience as the best form of experience that integrates emotional and intellectual qualities to foster deep learning and insights. Building on contemporary research on sensation, affect, and human brain, this paper identifies two distinct modes of human understanding: the linguistic/conceptual system and the sensuous-imaginative system. The former, often associated with abstraction and intellectual thinking, is heavily emphasized in traditional schooling, but the latter, integral to human cognition, is sadly neglected and overlooked. While situational meaning offers a way to bridge the two systems, it often falls short of leading to aesthetic experience. In response, sensuous abstraction can promote a process of meaning making that becomes more general than sensation but never as general as linguistic categories while maintaining its sensory wholeness as aesthetic experience demands. Using a classical artwork as an example, this paper concludes sensuous abstraction can be adopted as one approach for educators to create learning experiences by integrating sensory experience and generalizations and abstractions that lead to aesthetic experience.

This paper examines the interplay of creativity, education, and the expressive arts. We begin by presenting a narrative literature review focusing on the use of artistic tools to promote creativity, self-expressiveness, and meaningful aspects of emotional and social learning. This review reveals strong connections between the different components of this interplay, and a special attention is given to the use of arts to promoting creativity and meaningful learning. We then propose the Empowering Creative Education Model (ECEM), which aims to provide a practical framework for employing artistic tools in each of the model's four developmental circles: I, Us, Educational and Community. Each of the four circles includes unique aspects of personal development.

Purpose - The purpose of this paper is to report the findings from a study that explored the use of art and visual production as a means through which 20 third-graders developed and represented their social studies understandings. The author describes the ways the process of visual production and the finished products illustrate the nature of the students' social studies learning. Design/methodology/approach - The project was grounded in an inductive qualitative approach privileging student voice. This paper reports analysis and interpretation of multiple data sources, including photographs of students' projects, digital recordings of the visual productions and student interviews, as well as field notes and informal teacher conversations. Findings - Results suggest that in the process of visual production and in their final pieces, students moved in fluid ways between making sense of new knowledge, developing important social studies skills, and representing their knowledge. More specifically, students used historical evidence to present humanized versions of history through personalized narratives. These outcomes suggest that the integration of art and visual production can be a valuable and effective way for students to develop and apply social studies skills as well as represent their understanding. Originality/value - This study provides insight into how young children can use art and visual production to develop social studies skills, make sense of new knowledge, and represent their learning, contributing knowledge on an understudied topic and population in social studies education. [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]

Art is a powerful tool for conveying scientific discovery. Despite the perceived gap between art and science, as highlighted by CP Snow and others, examples of art communicating science can be found in the ancient world, the Renaissance and contemporary data visualization, demonstrating an enduring and historic connection. However, much of science relies on visual elements, excluding those with blindness, low vision and diverse needs, resulting in their low representation in STEM discourse. This paper introduces a novel science and art collaboration in the form of an exhibition program exploring the concepts of Immunology and Biomedicine to blind and vision-impaired audiences, capitalizing on the lived experience of a legally blind artist. Employing multisensory design, art and co-creation methodologies, it transcends traditional vision-based science communication, showcasing the potential for multisensory art to bridge the gap at the intersection of science and inclusion., (© 2024 The Authors. Immunology & Cell Biology published by John Wiley & Sons Australia, Ltd on behalf of the Australian and New Zealand Society for Immunology, Inc.)