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In this article we consider the movement of fossils into art commercial spaces as a process of artification underpinned by the deep object associations that art spaces foster. We combine observational data gathering at art and fossil fairs, dealerships, and auctions with snapshot analysis of the online market for Tyrannosaurus rex fossils, contextualized by interviews with palaeontologists and fossil dealers, to understand the increasing appearance of fossils within art commercial spaces. We believe that the placement of fossils within the art market desirescape, so within a network of alluring, provocative, affective art objects, allows the fossils to transform into what consumers would consider art. The fossils then gain the social associations that artworks have for these consumers. We believe that art and fossil consumers are not simply drawn to individual objects of desire, but to the myriad associations those objects have with other objects and the deep meanings those associations overlay. Those associations and the network they form can, in turn, transform the objects within it. When a fossil is artified, it can be desired like art, and can command art prices. [ABSTRACT FROM AUTHOR]

Copyright of Humanitas: International Journal of Social Sciences / Uluslararasi Sosyal Bilimler Dergisi is the property of Humanitas: International Journal of Social Sciences 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.)

Copyright of Forschungsjournal Soziale Bewegungen is the property of De Gruyter 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.)

Copyright of Forschungsjournal Soziale Bewegungen is the property of De Gruyter 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.)

Copyright of Forschungsjournal Soziale Bewegungen is the property of De Gruyter 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.)

Copyright of Art & Interpretation / Sanat ve Yorum is the property of Ataturk University Coordinatorship of Scientific Journals 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 integration of NFT technology into the art market utilizes a two-pronged approach of decentralization and increased accessibility as an equalizing answer to rectify gender discrepancies in the contemporary art world. This is not the first time that technology as an art medium has been used as a feminist tool to disrupt the previously established status quo. Through the exploration of the 1990's Cyberfeminist Net Art Movement, this article will discuss how female-identifying artists employ technological characteristics such as anonymity and online gender masquerading to answer the exclusionary issues affecting their art practices. Furthermore, it will examine how NFTs work to build upon the previously established revolutionary movement of the 1990s to evolve the contemporary art practices of feminist artists. Additionally, this article will address the impacts of this new digital landscape, where anonymity is preferred and algorithmic ordering is non-existent, as a more pragmatic way of creating, selling, and buying art. Finally, this article will examine how the integration of blockchain technology—entirely machine-operated and free from human manipulation—aims to eliminate the human biases of identifying factors such as gender that can be concealed or fabricated when operating in an online sphere. [ABSTRACT FROM AUTHOR]

The introduction discusses the role of art in society. Art is one of the ways of learning and describing the world, and its role in the development of an integral personality is enormous. The theoretical analysis presents some research within the framework of neuroaesthetics. The choice of stimulus material for the study is discussed – paintings from five art movements: Realism, Impressionism, Modernism, Cubism, and Surrealism. It is suggested that in the process of viewing works of art from different movements, oculomotor activity (OMA) will be different. Empirical analysis showed differences in OMA parameters: blinking, fixations, and saccades, among students when they were presented with pictures of different art movements. It was found that the subjects showed emotional excitement while perceiving paintings from the Impressionist movement. Paintings of Modernism and Impressionism presented the least concentration of attention but the greatest interest. A high concentration of attention was observed during visual perception of realism pictures. The greatest cognitive load was detected at the time of presentation of cubist paintings. Rational perception and memory resources are more involved in the processing of Surreal pictures. In conclusion, the characteristic patterns of OMA in the perception of various art movements are noted. Research results may be useful in the practice of passive art therapy as part of psychoprophylaxis programs.

This essay seeks to reflect on the functions and paths of the movement of imagination in art educational processes. To do this, the author delves into her notes, interspersing concepts and poetry. In the poetic field, he shares Tupi mythical narrative, poetry set to music from the Brazilian songbook and some practical educational art with children. In the conceptual field, he invites authors such as Gaston Bachelard, André Breton, Joseph Campbell, Renato Noguera, Mircea Eliade and Gianni Rodare to talk. An educational art path is suggested without the rigid objectivity of a methodology; least one presentation of techniques. The aim is to invite readers to inhabit the text, either to change their ideas of place or to graft it with new suggestions. It is, therefore, an explicit rehearsing of thoughts driven by the author's teaching experience. [ABSTRACT FROM AUTHOR]

Copyright of bāb Journal of FSMVU Faculty of Architecture & Design is the property of bab Journal of FSMVU Architecture & Design 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 subject of the uncanny first made a name for itself with an article written by the German psychiatrist Ernst Jentch on a literary work. Subsequently, Sigmund Freud expanded the boundaries of the uncanny with aesthetics by conducting a more extensive research. Based on these expanding boundaries, this article focuses on important artists and their works in three art movements in which the concept of the uncanny is felt intensely. Although the uncanny is associated with meanings such as fear, anxiety, terror, enigma, ominous, it emerges as a rich theme in art despite all these seemingly negative characteristics. According to Freud, the uncanny is the reappearance of emotions that have been experienced before but have been repressed and forgotten over time. It can be said that "The Uncanny", one of Freud's extraordinary essays that illuminates the dark side of human beings, is still an interesting text for artists today. The fact that this text is analyzed on a literary work makes it more remarkable. This article reveals the different reflections of the uncanny in art movements such as Dark Romanticism, Surrealism and Hyperrealism and the effects of these movements on the audience. Dark Romanticism draws the viewer into mysterious and mystical atmospheres by blurring the boundaries between the natural and the supernatural. Surrealism opens the door to a surprising world with illogical images and dreamlike narratives. Hyperrealism, on the other hand, pushes the boundaries of reality and creates a false sense of reality in the viewer. The focus of this study is on how the aforementioned art movements handle the concept of the uncanny and what kind of an impact they leave on the viewer. Each movement reflects the spirit of its period and leaves different emotional and intellectual traces on the viewer. The mystical atmosphere of Dark Romanticism, the startling images of Surrealism and the play between reality and falsity of Hyperrealism allow the viewer to have a unique experience with works of art. The article examines the viewer's interaction with artworks and various aspects of the theme of the uncanny by considering the concept of the uncanny in art from different angles. These unique ways in which art deals with the theme of the uncanny leave a deep impact on the viewer's emotions and thoughts, and offer the opportunity to explore the universal and subjective characteristics of art. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University 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.)

Modern painters' art is not only different from canvas created earlier, but also shows high internal variability. Being aware of the conditions arising from art history, we used paintings from three art movements—Impressionism, Post-Impressionism, and Expressionism, to see if we are able to respond to claims made by art theorists by using methods specific to social sciences, and validate the paintings as stimuli which might evoke different emotional reaction based on the movement they were created in. We wanted to conduct an exploratory analysis comparing the mean assessment of valence, arousal, and dominance among the three art movements. A total of 60 different paintings were selected (20 for each art movement) showing figurative works and visible human figures. They were assessed on five different affective scales: valence, arousal, dominance, origin, and subjective significance with use of Self-Assessment Manikins. The results showed expected differences in affective reactions to Expressionist paintings compared with those of Impressionist and Post-Impressionist ones. Therefore, we provided the very first dataset of emotional stimuli with validated affective norms, categorised by the art movement that they were created in and ready to be used in future experimental studies. [ABSTRACT FROM AUTHOR]

Dr Omar Kholeif maps out the life and practice of the path-breaking British-artist, Lubaina Himid RA CBE (born, Zanzibar 1954) through a considered engagement of her multivalent creative output—in visual art, writing, and exhibition-making. A leading figure in the British Black Arts Movement, Himid is renowned for her narrative paintings, which interrogate historical representations of Black people's creativity—from the eighteenth century to the present day. Painted canvasses, cut-out figures, drawers, and found carts find home in exhibitions that reveal the artist's engagement with opera, performance, and architecture. Kholeif notes that Himid's expressions have heralded a distinct re-formulation of Black visuality, achieved through a re-imagining of Black life—framed through the lens of the present. In "Do You Want an Easy Life?" Kholeif pays special attention to the artist's collaborative art making and argues that through these forays that Himid is concerned with "making space" for what official record and history often elides. Kholeif argues that Himid's artistic realm is constructed through a form of "female worlding" that presages an intertextual palette for art and its history—one which demands crucial revision. [ABSTRACT FROM AUTHOR]

While the cultural phenomenon known as vaporwave is commonly traced back to 2009, its defining characteristics remain a subject of ongoing debate within both popular culture and academic circles. Various perspectives categorize it as a microgenre of electronic music, a meme, an art movement, a critique of capitalism, or even a manifestation of pure aesthetics. As such, vaporwave remains a complex and multifaceted topic for research. In this paper, I explore the influence of post-internet culture on the formation of vaporwave and its aesthetics by analyzing the methods and strategies used to create what is recognized as vaporwave, rather than attempting to label or define it precisely. As a further step in this inquiry, I document an attempt to apply these methods and strategies, resulting in the publication of four music albums. This practice-based approach to analyzing vaporwave through creation and publication helps to better understand some core qualities and aesthetics of this art movement. [ABSTRACT FROM AUTHOR]

The purpose of the work is to investigate the dynamics of the folklore-jazz direction in the competition-festival movement of the accordion-fabulist art of the first quarter of the 21st century and to determine promising ways of development of folklore and jazz in modern musical content. The research methodology is based on the use of musicological, comparative, chronological and systematic methods, which allowed to analyse the cultural and artistic trajectories of the folklore-jazz direction in the competitions and festivals of accordion and legend art of the first quarter of the 21st century. Scientific novelty. For the first time, a scientific investigation of the competition-festival movement was carried out on its own practical example, namely participation in international competitions and festivals of the first quarter of the 21st century. The importance of the artistic content of the competition-festival environment on the performing and composing creativity of the participants of the artistic Olympia is considered. New, relevant ideas are offered to expand the creative horizons of performance and composition skills in mixing and synthesising folklore and jazz. Conclusions. The global perception of the folk-jazz direction in the competition-festival movement of the accordionfabulous art of the first quarter of the 21st century emphasises our opinion that the huge spectrum of musical diversity allows to find new creative solutions, to make modern interpretive explorations of different styles through the creation of author's content, the introduction of revolutionary modern stylistic innovations in arranging and harmonising, experimenting and combining the latest conceptual solutions in improving the instrumentation and introducing new technical quality standards in the manufacture and updating of instruments. [ABSTRACT FROM AUTHOR]

Based in part on interviews and fieldwork, this article analyzes how artworks produced during the Ukrainian Revolution (2013–2014) present the political emergence of the Ukrainian people as a collective fused by bonds of solidarity. At first characterized by a strong universal thrust, presenting a boundless democratic anticipation, this solidarity was subsequently contained by religious-political traditions and specific forms of self-sacrificing and masculinist nationalism, often projected as a revolutionary utopia in its own right, which has been operationalized in the defense against Russia’s invasion. To substantiate the argument, the text analyzes numerous artworks from the Ukrainian Revolution. These interpretations demonstrate how aesthetic acts contribute to the production of bonds of solidarity that transcend existing modes of political and cultural representation of Ukraine. [ABSTRACT FROM AUTHOR]

Wushu has unique movement requirements and techniques, but the traditional methods of optimizing wushu have some problems, such as unstable effect and difficult quantitative evaluation. In recent years, light sensors have been widely used in the field of image processing and detection, but there is little research on the application of martial arts motion optimization and image defect detection. The purpose of this study is to optimize martial arts movements and detect image defects by using light sensors based on reinforcement learning (RL) algorithm. The system collected the data of martial arts movement and image defects. Based on RL algorithm, the optimization model of optical sensor is established. The model is trained to optimize martial arts movements and detect image defects. The experimental results show that the light sensor based on RL can effectively optimize martial arts movements and accurately detect image defects. The proposed method improves the accuracy and fluency of martial arts movements in terms of optimization, and achieves high precision and efficiency in image defect detection, providing a new method and idea for martial arts training and image processing. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University 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.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University 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.)

James Wigley has been historicised by Australian art scholars as a social realist, but the focus of his work through the late 1950s, 1960s and 1970s differed from others who were a part of this art movement. During this time, he returned again and again to join the "strike mob" who had walked off pastoral stations in the Pilbara in 1946 and become independent by mining and purchasing their own pastoral properties. The organiser of the strikers, Don McLeod, invited Wigley to help the strikers with building boats to gather pearl shell, and later to run a printing press at the school in the new settlement of Strelley, on one of their pastoral leases. During his time with the strikes, Wigley drew and painted; he would send work to Melbourne and return there to exhibit work about the Pilbara and the people who lived there. He also illustrated the schoolbooks he was printing for the Strelley Literature Centre in the late 1970s. This article argues that this significant body of work places Wigley alongside other Australian artists who spent substantial time in remote Aboriginal communities, and whose experiences shaped their art. [ABSTRACT FROM AUTHOR]

At present, the traditional martial arts teaching method has some problems, such as unstable teaching effect, difficult to quantify, etc. This study aims to use optical technology to improve the effect of martial arts movement teaching. This paper introduces the basic principle and related techniques of human body pose estimation. By analyzing the posture information of the human body, it can accurately capture the movement posture of the students during the martial arts movement, and feed back to the teachers and students in real time. In this paper, a dynamic light acquisition system is designed to capture students' posture information by installing corresponding cameras and sensors in the teaching space. By analyzing and processing the images captured by the camera, the students' posture features can be extracted effectively. Then, according to the characteristics of martial arts movement teaching, the corresponding simulation system is designed. In this system, teachers and students can use virtual reality devices to interact, observe and analyze students' gestures in real time, and make corresponding adjustments and guidance. The conclusion shows that the dynamic light acquisition system based on human body pose estimation has significant advantages in martial arts movement teaching, it can accurately capture students' movement posture and provide real-time feedback and guidance for teachers and students. The application of this technology is expected to improve the effectiveness and quality of martial arts teaching and provide students with a better learning experience. [ABSTRACT FROM AUTHOR]

Copyright of Cultura, Ciencia y Deporte is the property of Cultura, Ciencia y Deporte 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 end of entailed estates, or 'mayorazgos', in Spain brought about an unprecedented movement of art objects, although paradoxically the dispersal of art collections also gave rise to a renewed valuation of their restoration as a way to symbolize the restoration of the 'mayorazgo'. The legislation that ended the status of the 'mayorazgo' also gave rise to the proliferation of documentation on collections, often resulting in their reordering in a way that reflected the new paradigms of the institutionalization of the arts. This paper will shed light on the strategies adopted by the dukes of Alba at this complex crossroads, as they navigated the uncharted waters of managing an art collection during and immediately following its disentailment, balancing financial interests and cultural distinction in the transition from the Old to the New Regimes. [ABSTRACT FROM AUTHOR]

Grotesque imagery is widely used by all genres and movements of art and literature without exception, but its historical development and theoretical aspects have not been sufficiently studied. This study seeks to define and diagnose the main aspects of the development of the grotesque as a literary problem. The leading methods of researching this problem are methods of analysis, deduction, induction, and comparison of approaches. The research covers the approaches to the study of the grotesque phenomenon; the interpretation of this trope is provided, its origin is described, in whose works it is widely used; the forms of grotesque and its specific features are described; various theoretical concepts of the question are demonstrated; the codes of grotesque poetics and their levels of display in the artistic system of works are identified; the qualities and features of Poe's literary activity are diagnosed, and the components of the grotesque aesthetics are defined. The material in this study is of practical and theoretical value to students and literary scholars who study literature and its artistic features. [ABSTRACT FROM AUTHOR]

This essay examines the Artists' International Association 1951 Lithographs, a series of prints produced to mark the Festival of Britain. It argues that these works, like others from the period, have received limited art-historical attention due to the dominance of a teleological narrative whose values are rooted in subsequent art movements. It proposes an alternative, 'intermodern' framing that emphasises continuity with pre-war ideals of democratising art ownership, and encourages historically informed analysis of the series' images. In line with recent scholarship on the Festival of Britain, the interpretations offered show the series projecting an idea of Britain as harmonious, egalitarian and optimistic, in a way that supported the Labour government's programme of social democratic reform. However, some images are also understood as manifesting ideological division and class conflict, as well as late imperial anxiety, in a way that ran counter to the Festival's conceit of national harmony. [ABSTRACT FROM AUTHOR]

Luminous skins are interactive, light-costume hybrids that reimagine the boundaries of the performers' physical bodies, broadcast their feelings, and alter their environment. The costumes are the central element of a performance that requires no stage space, no fixed lighting, no wall outlets, and no lighting technicians. The performers manage to dance through the darkness with the light they wear. The costumes are equipped with sensors and actuators that communicate wirelessly in real time with other scenographic elements. Together, they form a swarm-based scenography that involves close coordination between the performers and responsive technology to create visually dynamic and immersive atmospheres. [ABSTRACT FROM AUTHOR]

Virtual reality technology has been widely used in several fields, including sports and sports. As a traditional sport, Wushu requires high precision of skills and movements. Therefore, the use of virtual reality technology to intelligently assist the simulation of martial arts movements has great potential. The purpose of this study is to develop an intelligent assistant system for martial arts movement detection based on virtual reality technology, so as to improve the skill and movement accuracy of martial arts learners. The optical imaging technique is used to capture and record martial arts movements. Then the captured data is input into the virtual reality simulation system, the virtual reality technology is used to create character models and environmental scenes, and the martial arts action is simulated in the virtual scene. Finally, intelligent algorithms are used to analyze and evaluate virtual simulated actions, providing feedback and guidance to learners. The experimental results show that the use of light imaging based on virtual reality can effectively improve the accuracy of martial arts learners' skills and movements. Learners can find and correct their own movement problems by comparing and feedback with simulated movements in the virtual scene. [ABSTRACT FROM AUTHOR]

We present a diffusion model-based approach that applies the artistic style of an artist or an art movement to a portrait photograph. Learning the style from the artworks of an artist or an art movement requires a training dataset composed of a lot of samples. We resolve this limitation by combining Contrastive Language Image Pretraining (CLIP) encoder and diffusion model, since the CLIP encoder extracts the features from an input portrait in a very effective way. Our framework includes three independent CLIP encoders that extract the text features, color features and Canny edge features from an input portrait, respectively. These features are incorporated to the style information extracted through a diffusion model to complete the stylization on an input portrait. The diffusion model extracts the style information from the sample images in the training dataset using an image encoder. The denoising steps in the diffusion model applies the style information from the training dataset to the CLIP-based features from an input portrait. Finally, our framework produces an artistic portrait that presents both the identity of the input portrait and the artistic style from the training dataset. The most important contribution of our framework is that our framework requires less than a hundred sample images for an artistic style. Therefore, our framework can successfully extract styles from an artist who has drawn less than a hundred artworks. We sample three artists and three art movements and apply these styles to the portraits of various identities and produce visually pleasing results. We evaluate our results using various metrics, including Frechet Inception Distance (FID), ArtFID and Language-Image Quality Evaluator (LIQE) to prove the excellence of our results. [ABSTRACT FROM AUTHOR]