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Tedious work is pervasive in creative work, yet it has received little attention in the literature on creativity, including studies of science, innovation, and product development. Drawing from a comparative ethnography of two settings—systems biology and music production—we illuminate tedious work as an essential, previously under-investigated aspect of creative work that becomes increasingly prominent with digitization. Tedious work is repetitive, detail-oriented, and expertise-based, and we classify four types of it: fishing, administrating, polishing, and compiling. We develop a model of how tedious work emerges, why it becomes problematic, and what actors do to reduce its negative effects. Tedious work presents three risks to developing viable, novel outcomes—time drain, disengagement, and information overload—and we identify tactics that actors use to mitigate these risks and support individual creativity and the collective creative process. By unpacking the central notion of iteration and documenting the repercussions of creating novel outcomes with digitization, specifically the potential to amplify tedious work, we provide an important counterpoint to voices that hail digital technology's low cost and unlimited potential for iteration and refinement. [ABSTRACT FROM AUTHOR]

With the wide application of deep learning technology in various fields, its potential in artistic creation has gradually attracted attention. This research focuses on the application of deep learning in the creation of traditional Chinese landscape painting and its cultural and aesthetic impact. First, the research comprehensively analyzes the existing deep learning algorithms and the basic elements of Chinese landscape painting to determine the most suitable model architecture. Then, through several rounds of experiments, various training parameters are adjusted and the optimal network configuration is determined. In terms of assessment, the study uses a variety of indicators, including visual quality and technical performance, as well as in-depth cultural and aesthetic analysis. The results show that deep learning not only effectively improves visual quality and technical performance, but also has a positive impact on culture and aesthetics. Although there are some limitations, such as high computational requirements and reliance on large amounts of training data, corresponding solutions are also proposed. This study provides a powerful experimental basis for the integration of Chinese traditional art and modern science and technology, and promotes the research in this field. [ABSTRACT FROM AUTHOR]

Copyright of Arts for Linguistic & Literary Studies is the property of Thamar 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.)

Art and artistic creation serve as a means for artists to communicate with their environment, society, and the external world. However, the protection of artistic creations, as forms of communication, is not only a right for artists but also serves as a crucial safeguard that nurtures them during the creative process. Beyond the traditional issues of copyright, the significant advancements in Artificial Intelligence (AI) in today's digital world have introduced a new debate regarding the ownership of copyright in artistic creations generated by AI. The question arises whether copyright belongs to the AI itself or to the individuals who guide the creative process behind it. In this study, based on the concepts of art, artistic creation, and emotional states, copyright issues will be examined. Data obtained from semi-structured in-depth interviews with artists and academic experts (eight artists, two communication experts, two law experts, and eight psychology experts) in the field will be analysed through content analysis to explore their perspectives regarding the discussion on emotional states, AI, and copyrights. The research highlights the variability of emotional states and their significant effects on individuals. Addressing the increasing trend of copyright issues, particularly within the framework of digitalization and inadequate legal regulations, it was found that artists' emotional states are negatively impacted by these problems. This negative influence can adversely affect artists' creativity and desire to produce. On the other hand, it was also identified that in artworks produced especially through AI, if artists' rights are not protected, there is a possibility of negative emotional states arising. In conclusion, suggestions are as follows: Emphasising the importance of awareness-raising educational activities nationally and internationally, national copyright law (in Northern Cyprus) needs to be revised to protect traditional copyright and be expanded to include digital copyright, especially for works produced through AI. On an international level, emphasising the need to revise international agreements to include regulations for works produced through AI or to create a new agreement based on the importance of this issue. [ABSTRACT FROM AUTHOR]

The aim of this study is to analyze the effect of an illustrator's visual style in representing nature. The focus is on the author's own artistic project in which the personal relationship with nature is reflected. As for theory, the style used in the representation is seen as a combination of semiotic resources. In this case, the style is inspired by historical images: old still life paintings and illustrations from natural encyclopedias and field guides. The stylistic influences work as a connotative semiotic resource. From a wider perspective, how we represent nature creates social discourses of nature and our attitudes toward it. The results indicate that fact-based communication of nature would also benefit from the emotional effect of esthetic imagery. [ABSTRACT FROM AUTHOR]

This article thinks with disability theory and artistic praxis to explore how disabled artists repurpose and invent technologies in artistic processes designed to enact care and access, extend embodiment, satiate the senses, and create crip culture. Drawing on four examples, we claim that disabled artists are creative technologists whose non-normative culture-making practices approach accessibility as a transmethodological process that requires and generates new forms of interconnected technology and artfulness. Disabled artists, as "creative users," change the uses and outcomes of technology, dis-using technologies in ways that lead to a more dynamic understanding of access and with it, of crip cultures as processual, artful, and political. [ABSTRACT FROM AUTHOR]

Copyright of Environmental & Social Management Journal / Revista de Gestão Social e Ambiental is the property of Environmental & Social Management Journal 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 Agricultural Economics & Social Sciences is the property of Egyptian National Agricultural Library (ENAL) 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 focus of this paper is the mutual representation of the process of artistic writing in the memoirs of Bohumila Grögerová Můj labyrint [My Labyrinth] and in the novel Točité věty [Winding Sentences] by Daniela Hodrová, which came into existence concurrently with the two authors in close contact. Other pieces by these authors, though of different genres, may be read as an artistic dialogue as well: a dialogue with mythologies, historical figures and cultural traditions, the values and knowledge that these authors share and represent, sometimes in a similar way and sometimes in a different one, while employing narrative strategies typical both of modernist and postmodernist poetics, balancing between dream and reality, fictionality, fictionalization and authenticity. A selection of topics (language, speech, writing; individual and collective; textual subjects; myth and novel; memory and oblivion) are analyzed, and a comparison of modes of representation and their functions in the texts as related to the world of ideas of both authors is undertaken. [ABSTRACT FROM AUTHOR]

This study investigates the processing methods of artistic images within the context of Smart city (SC) initiatives, focusing on the visual healing effects of artistic image processing to enhance urban residents' mental health and quality of life. Firstly, it examines the role of artistic image processing techniques in visual healing. Secondly, deep learning technology is introduced and improved, proposing the overlapping segmentation vision transformer (OSViT) for image blocks, and further integrating the bidirectional long short-term memory (BiLSTM) algorithm. An innovative artistic image processing and classification recognition model based on OSViT-BiLSTM is then constructed. Finally, the visual healing effect of the processed art images in different scenes is analyzed. The results demonstrate that the proposed model achieves a classification recognition accuracy of 92.9% for art images, which is at least 6.9% higher than that of other existing model algorithms. Additionally, over 90% of users report satisfaction with the visual healing effects of the artistic images. Therefore, it is found that the proposed model can accurately identify artistic images, enhance their beauty and artistry, and improve the visual healing effect. This study provides an experimental reference for incorporating visual healing into SC initiatives. [ABSTRACT FROM AUTHOR]

Little is known about generational differences and similarities in beliefs about addiction. Science Gallery Atlanta (SGA) integrates science and art to approach challenging topics, like addiction, with empathy. Intergenerational communication about addiction could positively impact older and younger adults. This study investigated perceptions of addiction among older (60+ years) and younger (18–26 years) adults through intergenerational dialogue on addiction-focused art, offered through SGA’s HOOKED exhibition. This exploratory pilot study recruited ten randomized older-younger dyads who received a mediated tour of HOOKED. Addiction attitudes were assessed pre- and post-tour with the Belief in a Just World and Addiction Belief Scale questionnaires, concurrent interviews, and focus groups. Qualitative data were recorded, transcribed and analyzed thematically. Thematic analysis revealed younger and older adults were equally concerned with addiction-produced waste and technology addiction. Generational differences emerged regarding social media and drug-induced euphoria. Across age groups, participants scored similarly in their beliefs about justice for others and self. Post-tour, young adults were more likely to view addiction as a disease rather than a choice (p = 0.05). Art-based intergenerational communication may increase empathy. Intergenerational bridging may help young adults see addiction as a disease and older adults understand behavioral addictions. Emergent themes illuminate generational differences and similarities in addiction beliefs. [ABSTRACT FROM AUTHOR]

The rise of comics and games has led to increased artistic processing of portrait photos. With growing commercial demand and advancements in deep learning, neural networks for rapid facial style transfer have become a key research area in computer vision. This involves converting face photos into different styles while preserving content. Face images are more complex than regular images, requiring extensive modification. However, current methods often face issues such as unnatural color transitions, loss of detail in highlighted areas, and noticeable artifacts along edges, resulting in low-quality stylized images. In this study, an enhanced generative adversarial network (GAN) is proposed, which is based on Adaptive Layer Instance Normalization (AdaLIN) + Laplacian. This approach incorporates the AdaLIN normalization method, allowing for the dynamic adjustment of Instance Normalization (IN) and Layer Normalization (LN) parameters' weights during training. By combining the strengths of both normalization techniques, the model selectively preserves and alters content information to some extent, aiming to strike a balance between style and content. This helps address problems such as unnatural color transitions and loss of details in highlights that lead to color inconsistencies. Furthermore, the introduction of a Laplacian regularization term aids in denoising the image, preventing noise features from interfering with the color transfer process. This regularization also helps reduce color artifacts along the face's edges caused by noise while maintaining the image's contour information. These enhancements significantly enhance the quality of the generated face images. To compare our method with traditional CycleGAN and recent algorithms such as XGAN and CariGAN, both subjective and objective evaluations were conducted. Subjectively, our method demonstrates more natural color transitions and superior artifact elimination, achieving higher scores in Mean Opinion Score (MOS) evaluations. Objectively, experiments using our method yielded better scores across three metrics: FID, SSIM, and MS-SSIM. The effectiveness of the proposed methods is validated through both objective and subjective evaluations. [ABSTRACT FROM AUTHOR]

Contemporary art is in a state of value collapse, which is the result of different factors: the process of art and reality becoming one, the influence of information technologies, globalization, and commoditization. On the one hand, the globalizing world finds it increasingly difficult to find intersections, which makes it impossible to establish collective and shared values and norms, and on the other hand, voluntary living in simulated informational realities breaks the connection with reality, leading to living instead in the giant simulacrum of hyperreality. The universal commoditization and the turning of art into a fetish create an anti-cultural situation in which there are no areas left outside of monetary exchange. All these factors influence the erosion of artistic values. The final stage of this process is sacralization through destruction and immortalization through the annihilation of the work of art. [ABSTRACT FROM AUTHOR]

The autonomy of art does not mean that from the Renaissance onwards there was a period in which art depended only on itself and on nothing else. Artists did break away from the traditional spheres of mythology, religion, and courtly canons, but they consistently and explicitly inscribed their works within the freer and broader objective structures of social communication, from immediate interpersonal communication all the way to the various forms of mass communication. Art takes on a new, completely free publicity that emphasizes the highly marketable and communicative character of the artwork and the mass character of its audience. Under the influence and support of different and even contradictory audiences, art is constantly changing its artistic form and social meaning. Considered in this way, autonomy represents a constantly changing form of socialization of art that also reaches very high, unique, and autonomous degrees of individualization of the artistic process. Within this process, the artist is now more subject to norms and rules that he freely and unconstrainedly chooses for himself and which he imposes on his imagination. But the specific characteristics of this free art must also be seen and understood as internal ciphers of a hidden external social context. [ABSTRACT FROM AUTHOR]

This paper delves into often-unspoken realms of human suffering -- tragedy and psychosis -- to uncover the role that art can play in understanding and overcoming experiences that defy conventional language. Dovetailing from Heidegger's aesthetics, I explore the unique qualities that make the artistic process such a powerful medium for existential restoration, connecting otherwise disparate individuals to the wider tapestry of humanity. Ultimately, I argue for a new understanding of 'artistic literacy,' emphasising the benefits that unconventional modes of expression hold for the expresser, listener and humanity at large. [ABSTRACT FROM AUTHOR]

This article examines Emily Dickinson's poem "I Dwell in Possibility" and its use of metaphor and architectural imagery. The author argues that Dickinson's understanding of the connection between man and nature, influenced by her upbringing, is reflected in her poetry. The article also explores how Dickinson's use of architectural metaphors represents creative freedom and versatility. The author suggests that studying Dickinson's poems can provide insight into the relationship between built environments and the natural world. [Extracted from the article]

Objective: The main objective of this research is to reconstruct the collective memory through literary creation, involving students who are victims of displacement and the Colombian armed conflict within the Bachelor's Degree Program in Literature and the Spanish Language of the Universidad Popular del Cesar. Methodology: The methodology employed was action-participation research, utilizing the creative writing workshop as a tool and space for the production of fictional texts aimed at reconstructing the collective memory of the participants. Results: The outcome comprised a set of methodologies and tools to be utilized in creative workshops, targeting vulnerable populations within the context of the Colombian armed conflict. Identified gaps and voids in the official history of the armed conflict are an opportunity for rewriting a version through fiction and literary creation that vindicates the experiences of all affected individuals, thus reconstructing the collective memory of the country. Conclusions: Spaces for reading, dialogue, writing, and creation, such as the creative writing workshop, are indispensable for the reconstruction of a collective memory that promotes the search for truth, forgiveness, and peace. [ABSTRACT FROM AUTHOR]

The "Functional interchangeability of Six Roots" also known as the "Six Roots being unrestraint" is according to thoughts regarding Tathagatagarbha in the Śūraṅgama Sūtra, rather than mysterious personal experience of Buddhist meditation. The true mind and the delusive mind are distinguished in the Śūraṅgama Sūtra. The true mind recognizes the world through six roots so that the six roots can be functionally exchangeable. Scholars represented by SuShi, Huang Tingjian, and Hui Hong not only identify thoughts of the True mind of Buddhism but also apply them to literary creation, overthrowing previous aesthetics and literary performances and giving rise to changes. First, seeing with the ears and listening with the eyes originate from descriptions of Guanyin Bodhisattva's enlightenment from hearing, whereby poets break through the limit of the eyes and ears. Second, burning incense, tasting tea, and admiring food become poetry themes. The emphases of those poems and essays are fantastic functions of the true mind. These changes are closely related to the new images of sages in their mind. [ABSTRACT FROM AUTHOR]

Understanding an artwork is essential for aesthetic experiences. But how does one form an understanding of art? To investigate this still poorly addressed process, we hypothesized that the easier a stimulus is processed (i.e., higher fluency), the easier it should be understood. We focused on artwork inherent features (i.e., style and content) and their interactions affect processing. Making use of the brightness–positivity association, the overall brightness of paintings (i.e., as stylistic feature) was manipulated to match their content (positive vs. negative). We hypothesized that a congruency of style and content would facilitate the processing of paintings resulting in a better understanding, but also, greater liking, and (exploratively) higher artistic value. Our data indicated no congruency effects between brightness and content, but that content alone was a strong predictor for art processing and—in an exploratory approach—highlighted the importance of individual differences in terms of art interest and knowledge in our sample. [ABSTRACT FROM AUTHOR]

The topics addressed in this article stem from the interdisciplinary research project "Neuroscience, Creativity -- Neural Connections in Artistic Creation," initiated by the Institute for Multidisciplinary Research in Art at the "George Enescu" National University of Arts in Iași. These topics have been discussed by experts in the medical and artistic fields during a conference organized in collaboration with "Grigore T. Popa" University of Medicine and Pharmacy in Iași and the "I. I. Mironescu" Cultural Center. We aim for an interdisciplinary approach, which we consider relevant and of interest, focusing on understanding how the brain functions and the intricate neural networks engaged during the creative process, seen as the key to developing and enhancing creativity. Additionally, within the complex scope of this research theme, we will highlight several beneficial effects of art on individual and collective health. Art serves as an alternative energy source for the brain, stimulating connections between mental and physical processes. [ABSTRACT FROM AUTHOR]

The study of literary discourse from Semio-semantic point of view has opened a new horizon for understanding and analyzing the complexities of the language of lyrical poem and its fundamental concepts. One of the most important achievements of Semio-semantics is to acknowledge that literary speech is no longer considered as bound to words and sentences and that most of the literary processes go beyond the boundary of sentence into a larger totality called discourse. Therefore, even for an accurate and thorough understanding of the words like 'love' and 'parting,' which are among the fundamental concepts of Persian lyrical poem, we need to study these words and other related terms in association with relevant discourse totality. Emotional discourse is considered as one of the main domains of expressing feeling in poetry. Since the formation of emotional discourse in every poem begins with diction, this analytical - descriptive research initially investigates the mechanism of the production and perception of meaning, based on the lexical network and its emotional processes in poetry. In doing so, to show the emotional discourse in poetry, this article focuses on the lyrical poem "Thou Cameleer! Take not Shelter..." (Ey sārebān manzel makon ...) by Amir Moezi to deal with the meaning of parting (Hijrān) in association with the emotional elements of discourse such as body proper, emotional scenery, discourse disconnection and connectivity. The results of the analysis shows that the fundamental meaning of parting in this poem becomes the core concept, overshadowing all the elements of emotional discourse such as body proper, emotional scenery, discourse disconnection and connectivity, perspective as well as the role of affective verbs, rhythm, and manifestations to reinforce discourse coherence. Also, by considering the relationship between fundamental concepts and lexical network and the elements involved in the emotional process, it is possible to methodically analyze and evaluate emotions in lyrical poetry. [ABSTRACT FROM AUTHOR]

In response to mcomplexity inefficiency caused by the use of VGG16/VGG19 or traditional texture imitation in existing style transfer tystems, the aim of this paper is to create a user-friendly, high-performance and highly interactive deep learning-based transfer prototype system. The system was designed to its use among the general public and stimulate creative production in the professional art fieLi. Taking the impressionistic style as an female using CycleGAN, SSIM index and user subjective evaluation for effect measurement, all of them have different magnitudes of improvement compared within the traditional VGG19, with the lowest improvement of 29. 33% and the highest improvement of 153. 52% in the test group. In addition, for the user side, a style migration prototype system was developed, which allows users to realize the impressionistic style migration of hand-works and uploaded images through an easy-to-use interface. The system display and user experience were optimized and received positive feedback from users. These results show its great potential in the field of enhancing users' aesthetic awareness and computer-aided design, and provide new ideas for future esthetic education and artistic creation. [ABSTRACT FROM AUTHOR]

During the artistic journey, creators frequently encounter challenges stemming from pressure, resource constraints, and waning inspiration, all of which can impede their creative flow. Addressing these obstacles requires a multifaceted strategy aimed at nurturing creativity throughout the artistic process. Procedural art generation emerges as a viable solution to invigorate artistic creativity. In this study, the deep Q-network (DQN) was constructed to solve the shortage of artistic creativity through its automatic decision-making ability. The model was trained with different types of artistic styles (abstract and minimalism) in WikiArt dataset. The model generates various artistic elements of different styles, forms, or thinking according to the input parameters or constraints, and selects specific colors, textures, or shapes to help the artist maintain focus in the creation process and expand the creativity in the creation process. In order to achieve this goal, in the process of performing the procedural art generation task with DQN, the experiment collected the generation speed, interpretability, and creativity evaluation feedback of each style of art. The feedback results show that the scores of color field painting and minimalism were 83.2, 93.5, 86.3 and 86.6, 91.5, 82.1 respectively. The research shows that employing dynamic mass spectrometry networks enables the automation of the art creation process. This innovative approach facilitates the exploration of diverse creative ideas tailored to various artistic tasks, thereby fostering advancements in art creation and nurturing creativity.

Between 2009 and 2011, the Kurdish sculptor Hadî Ziaoddînî created a statue of poet Mestûre Erdalan (1805–1847), in the city of Sine (Sanandaj, Iranian Kurdistan or Rojhelat). A woman standing, carrying a book in her hand, the figure of Mestûre is unique in the Islamic Republic of Iran. She is not wearing the obligatory hijab but a Kurdish kofî. This paper presents the evolving representation and reception of Mestûre, the first Kurdish female poet and chronicler. The existing research on heritage in Iran focuses mainly on the policies of Pahlavi and Islamic regimes, tourism and conservation. This paper reveals the dissonant heritage-making that inspires Kurdish ethnic and national identity and the empowerment of women in Iran. The latter gained momentum, especially after the killing of the Kurdish woman, Jîna (Mahsa) Amînî, by the morality police in 2022. The multi-layered heritage performance engages identity politics, artistic creation and the new practice of visiting the statue of Mestûre. Starting from Ziaoddînî’s work as the focal point of discussion, the study identifies various links between the statue and other artistic products, as well as investigates the contemporary relationship between Mestûre and the inhabitants of Sine. The relationship is mediated by the sculpture and the moral imagination it stirs in empowering Kurdish women. [ABSTRACT FROM AUTHOR]

Background: The Active Recovery Triad (ART) model provides a framework for recovery-oriented care in the long-term mental health setting. The aim of this study is to gain insight into factors influencing the implementation process of the ART model. Methods: Focus groups were conducted with fourteen multidisciplinary teams that were in the process of implementing the ART model. Data were thematically analyzed. Results: Three phases of implementation were identified. In the first phase, getting started, support from both the top of the organization and the care workers, sufficient information to care workers, service users, and significant others, and creating momentum were considered crucial factors. In the second phase, during implementation, a stable team with a good team spirit, leadership and ambassadors, prioritizing goals, sufficient tools and training, and overcoming structural limitations in large organizations were seen as important factors. In the third phase, striving for sustainability, dealing with setbacks, maintaining attention to the ART model, and exchange with other teams and organizations were mentioned as core factors. Conclusions: The findings may support teams in making the shift from traditional care approaches towards recovery-oriented care in long-term mental health care. [ABSTRACT FROM AUTHOR]

The paper investigates the problem of the time arrow in terms of artistic creation. The statistical model of artwork signal processing is established in order to identify a duality relation between psychological and intrinsic time. The intrinsic time is linked to the time operator of wavelets, and the psychological one is metaphorically related to the spatial domain of an artwork. The increase of irreducible randomness along the timeline is formulated by the second law of thermodynamics. The dual statement concerns an increase in statistical complexity, which is the definition of self-organization. In that manner, two arrows of time which are opposed and dual to each other are recognized. The authors have indicated a link to the theory of musical forms, the originality issue, and the perspective problem. Some repercussions for art theory, neuroaesthetics, and psychophysics have also been implied. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

In the bas-de-page decoration by Jörg Breu the Elder of a leaf in the Prayer Book of Emperor Maximilian I (fol. 78r), a cheerful winged putto is gracefully propelling a walking frame. Both the rolling structure aiding its first steps and the presence of wings cry out for an explanation, especially as the two are shown together. Unlike most other depictions of a child with a walker, this putto is neither a personification of an age of man, nor a reference to a specific infant. Among its precedents, it is worth mentioning the marginal decorations of prayers of intercession, especially the relevant depiction in the Hours of Mary of Burgundy. The structure of the walker in Maximilian's prayer book is counterfunctional: its wooden slats together form a capital A and capital D. By modelling the walker on Dürer's monogram, Jörg Breu was, on the one hand, thanking his mentor for his inspiration, and on the other, fulfilling the wish of Konrad Peutinger – and indirectly of the emperor – that the decoration of the prayer book be completed in the manner commenced by Dürer. While there are also classical precedents for the motif of the walker as a device aiding the acquisition of knowledge, later examples are particularly relevant to the sustentaculum modelled on Dürer's monogram. In the seventeenth century, the metaphor of the "first step" and the concept of "giving and receiving support" frequently conjured up the theme of master and pupil; at this time, the child learning to walk with the aid of a walker was repeatedly alluded to in the context of the study and practice of art. This notion also comes across in the etching by Rembrandt known as 'Het Rolwagentje': here too, learning to walk independently refers to the process of mastering art, with the obligatory first steps being to practise drawing nudes and to copy the works of the master. In the depiction of the putto, its hesitant steps imply slowness, while its wings suggest speed. This ambivalence is also the essence of the adage festina lente , which was of particular relevance to Emperor Maximilian; the theme was probably suggested by Peutinger. Other references to the emperor are the figure of Hercules stepping on a snail, in the lower right margin of the same sheet, and the crane depicted on its verso. [ABSTRACT FROM AUTHOR]

This paper investigates the oil on canvas painting Boat scene (1974) by Liu Kang (1911–2004), belonging to the National Gallery Singapore (NGS). The focus is on disfiguring paint protrusions in a specific area and colour in the composition. Moreover, in search of the possible factors responsible for the creation of the protrusions, the structure and composition of the paint layers were determined. Three possible reasons were put forward to explain this phenomenon: deliberate textural effects, the expansion of metal soaps and unintentional paint contamination during the artistic process. Investigative techniques such as technical photography, digital microscopy, optical microscopy (OM), polarised light microscopy (PLM), field emission scanning electron microscope (FE-SEM-EDS) and attenuated total reflectance micro-Fourier transform infrared spectroscopy (ATR μ-FTIR) were employed to analyse paint layers, including protrusion samples. The analyses revealed that the protrusions resulted from an unintentional contamination of the oil paint during the artistic process by dry fragments of different pigment mixtures bound in drying oil. Zinc soaps were found in significant concentrations within the protrusions and other parts of the painted scene. Nevertheless, the metal soaps do not pose a direct risk to the integrity of the paint layers at the time of this research. The analyses highlight the potential challenges caused by the protrusions that conservators may face while caring for the painting. The research contributes to our ongoing comprehension of the artist's working process. [ABSTRACT FROM AUTHOR]

This article explores intersections between the author's process of making art and the analytic relationship. The author makes correlations between witnessing a deeply moving impressionist painting, engaging in Jung's method of active imagination, and the experience of reverie and opening to the imagination in the clinical relationship. Opening to the unconscious, and relating consciously to what emerges, is an art and a dance that involves the capacity to play. When there are unconscious and conscious meetings, a creative process ensues and can constellate what Jung called the transcendent function, a process that often catalyzes personal transformation. In witnessing great art and engaging in a creative process within the analytic situation, there is a curiosity and willingness to be affected and bear uncertainty for the sake of new discoveries, as well as dedication to becoming a more whole human being. [ABSTRACT FROM AUTHOR]

This text proposes, in the first instance, a reflection on the contributions of popular festivities and carnival to the strengthening of theatrical identity in Colombia and, in a second part, its contributions to artistic education. The aim is to deepen the understanding of the elements of festive culture present in theatrical performances and their possible articulations and interrelations with artistic education processes. The following references are taken: i) three works of Colombian popular theater, by three highly recognized creators, Misael Torres, Juan Carlos Moyano and Críspulo Torres, who have inquired into festive culture, by covering popular festivals, carnival and other traditional manifestations, with the purpose of recognizing in these works part of what constitutes us as a society; our imaginaries expressed in characters, plots, stories, as well as the emergence of methodologies for stage creation; ii) two examples of training projects in formal and non-formal contexts, of academic programs based on popular and festive culture, to create pedagogical proposals based on the recognition of the knowledge immersed in festivals and the possibility of sparking dialogues of knowledge: the Popular Institute of Culture of Cali and the Department of Performing Arts of the Antonio Nariño University. In conclusion, the contributions of festive culture to popular theater and the multiple possibilities generated by its integration in artistic education processes are presented. [ABSTRACT FROM AUTHOR]

Public health is a multidisciplinary field that encompasses a wide range of activities and initiatives aimed at preventing diseases, addressing health disparities, promoting healthy behaviours, studying patterns, and improving the overall health of communities. Within this landscape, comics emerge as a dynamic tool for raising awareness, promoting healthy behaviour, enhancing understanding of public health messages, and effectively reaching diverse audiences, including those with low health literacy and language barriers. Notably, Meredith Li-Vollmer's Graphic Public Health: A Comics Anthology and Roadmap assumes a prominent role in this framework. Published by Graphic Mundi (an imprint of the Penn State University Press) in 2022, this anthology attests to the power of the comic medium to facilitate health communication while delving into a wide-ranging public health-related theme. This email interview with Li-Vollmer follows a tripartite structure. In the inaugural segment, titled 'The Artist,' Li-Vollmer offers a comprehensive exposition of her artistic processes. In the subsequent segment titled 'Comics and Public Health,' Li-Vollmer articulates the capacity of the comic medium to serve as a transformative agent in public health. Finally, in the concluding part, 'Graphic Public Health,' she deliberates on the core principles that shape her 2022 work on graphic public health. [ABSTRACT FROM AUTHOR]

This article explores the potential of TikTok videos as a method of relational engagement for Indigenous artists. The concept of relationality is the foundation of Indigenous artistic practices, through which Indigenous art is representative of an ongoing process of knowledge sharing and connection rather than a final product. Within this process, art is given meaning through the extensive relationships that inform its stories and symbolism such as the artist's connections, ancestral knowledges, and both Indigenous and non-Indigenous audiences. The ways that Indigenous artists share their art on platforms such as TikTok play a key role in the Indigenous art process. Using data produced through content analysis of three TikTok videos, this article highlights the various ways that Indigenous artists use TikTok videos and its functions as a means of sharing knowledge, locating their identities, and maintaining extensive relationalities with themselves, community, Country, and ancestors. [ABSTRACT FROM AUTHOR]

The appreciation, sale, and appraisal of fine art pivots on intrinsic value and biases. Previous research shows that people evaluate art based on factors such as attractiveness, rarity, artistic process, and background information. However, few studies consider the role of viewing art in person versus digitally, or how individual differences affect the perceived value of a piece. Two studies were conducted to explore these factors. In Study 1, 74 participants evaluated three landscape paintings in a lab as an in-person piece or a digital image. Background information about the paintings were manipulated using vignettes. Results show that background information impacts our perception of value in art and can be used to increase the perceived value of art. However, participants with more self-reported knowledge about art judged in-person pieces as significantly less valuable than other participants. In Study 2, 54 participants evaluated a single landscape painting in a lab as both an in-person piece and a digital image. Art knowledge was measured using a recognition task, and the amount of time spent viewing the pieces during that task was recorded. Results show that viewing time mediates the relationship between art knowledge and the perceived value of art, but only when the piece is viewed in person. Those with more knowledge about art spend more time evaluating the piece, then subsequently rate the piece as less valuable when viewed in person. The findings shed new light on the judgment of art, specifically the role of art knowledge on perceived value. [ABSTRACT FROM AUTHOR]

This article reconsiders the state-led, market-oriented, and elite-centered art framework in present-day China. Focusing on the rupture between art and public life, it aims to understand the structural forces that trivialize ordinary people's aesthetic experiences. Utilizing the term "absent others," this study first untangles historical and social circumstances that underlie the formations of the exclusionary feature in art. Against this backdrop, the second part of this study examines the case of a community-based art space in urban China. Focusing on its spatial practices and method experiments, discussions examine the efforts that art practitioners have made to revise the historical legacy, spatial order, and method issues in artistic practices that have continuously (re)produced stratification in cultural life in China. [ABSTRACT FROM AUTHOR]

Nous allons essayer d'identifier ce qui œuvre derrière la création de deux artistes nés dans deux pays du Nord, Fiodor Dostoïevski (1821–1881) en Russie, et Anna-Eva Bergman (1909–1987) en Norvège. Parmi leurs œuvres, nous allons nous appesantir sur Les frères Karamazov , une œuvre qui résume toutes les interrogations de leur auteur, et sur l'évolution des peintures de Bergman. Ils font appel chacun à un désir instinctuel pour se constituer une bibliothèque de souvenirs, écrits pour l'un, peints pour l'autre. De quoi se soutient ce désir instinctuel ? Nous faisons l'hypothèse que c'est la forme que prend leur jouissance. Cette jouissance est développée différemment dans leur œuvre, circonscrite dans un personnage chez Dostoïevski, diffuse dans les tableaux de Bergman. Elle apparaît genrée dans le produit de leur création, mais pas dans leur processus de création. Des hypothèses mises au travail dans cet article. We will try to identify what lies behind the creation of two artists, born in two northern countries, Fiodor Dostoyevsky (1821–1881) in Russia, and Anna-Eva Bergman (1909–1987) in Norway. Among their works, we will focus on The Brothers Karamazov , a work that summarizes all the questions of its author, and on the evolution of Bergman's paintings. They each appeal to an instinctual desire to create a library of memories, written for one, painted for the other. What underpins this instinctual desire? We hypothesize that this is the form that their pleasure takes. This enjoyment is developed differently in their work, circumscribed in a character for Dostoyevsky, diffused in Bergman's paintings. It appears gendered in the product of their creation but not in their creative process. These are the hypotheses applied in this article. [ABSTRACT FROM AUTHOR]

This Special Issue of the journal Religions explores the relationship between religious education and aesthetics, specifically the connection between religion, particularly Christianity, and art. The articles in this issue discuss the complementarity of art and religion, the importance of beauty in dialogue and faith transmission, and the historical relationship between art and the Church. The authors approach the topic from various perspectives, including philosophical, theological, religious-pedagogical, catechetical, artistic, and communicational. They explore topics such as the origin of art and its relationship to God, the spirituality of artistic service, the role of images in theological knowledge, and the biblical understanding of beauty. The issue also addresses the educational aspects of beauty, the aesthetic value of religious images, the presence of art in catechesis, and the connection between music and religious education. The articles emphasize the significance of art in shaping personal, cultural, and religious identity and highlight the need for education in aesthetics and the arts. Overall, this Special Issue provides valuable insights into the relationship between philosophy, theology, religion, art, and religious education, and encourages further exploration of this topic. [Extracted from the article]

As a Hubei writer, Li Xiuwen's prose creation is a literary cartography deeply nurtured by Chu culture, with the self as the origin of constructing spatial imagery. The resentment and anger of the rebel, inherited from the Chu literature tradition of expressing emotion through anger, gives birth to the "cage" image that symbolizes the awakening of self-space. The traveler's perplexity and lingering imply the Chu aesthetic tradition of disliking mountains but loving water, and condenses the "station" image that represents the freeze-frame of flowing space. The communication between yin and yang by the shaman, derived from the custom of Chu's shaman and history that ghosts before rituals, shapes the "world" image that symbolizes the fantasies of utopian space. Drawing on Chu cultural resources, Li Xiuwen constructs a spatial imagery rich in cultural and aesthetic confidence, and explores the contemporary writing of Chu culture and literary cartography. [ABSTRACT FROM AUTHOR]

The paradigm of written language and the transformation of literary styles hold significant symbolic importance in the modern transformation of Chinese literature. In this process, Liang Qichao, who was at the center of the era's stage, and his literary practices have a pioneering historical significance. Liang's fluid and changeable cultural character during the transition period is closely related to his continuous encounter with new knowledge, new ideas, and new cultures. Against the backdrop of Western learning spreading to the East, Liang read extensively from various ancient and modern Chinese and Western classics and renewed the established literary styles through his newspaper propaganda practices. Liang's New Literary Style is greatly related to reading and imitating Japanese literature, especially during his stay in Japan after The Hundred Days Reform. The New Literary Style is linked to knowledge and possesses a unique charm on the emotional level, and its demise also comes from this characteristic itself. Understanding the New Literary Style in the process of the evolution of the traditional literature between modern China and Japan can provide a glimpse into the historical process from reformed classical Chinese to reformed vernacular Chinese. [ABSTRACT FROM AUTHOR]

This article delineates the multifaceted significance of the Golden Sunbird, a pivotal cultural relic that not only encapsulates the historical essence of the ancient Shu civilization but also plays a critical role in the contemporary sociocultural and urban developmental landscape of Chengdu, China. Through an indepth analysis, the study explores the relic’s transformation from a historical symbol of sun worship to a modern emblem that epitomizes the city’s unique identity, characterized by vibrancy, openness, and dynamic energy. The Golden Sunbird, beyond its intrinsic historical value, serves as a compelling brand that underpins Chengdu, fostering sustainable development while promoting the city’s image on both national and international stages. The research elucidates how the symbol operates as a cultural mediator, encapsulating values such as innovation, harmony, and optimism, and facilitating dialogues between traditional and modern paradigms, thus contributing to a comprehensive understanding of sustainable development embedded within the Chinese cultural matrix. The article also highlights the practical strategies employed to integrate the Golden Sunbird into the broader framework of cultural development, showcasing its role in enhancing the global outreach of the Jinsha culture, supporting heritage conservation initiatives, and acting as a driver of socioeconomic benefits. Through an analysis of the Golden Sunbird’s semiotic structure and its evolving relationship with the people of Chengdu, the study unveils new insights, offering valuable references for future initiatives in cultural preservation, artistic creation, and sustainable urban development. [ABSTRACT FROM AUTHOR]

In response to the problems of lack of intelligence, low recognition, loss of brightness, and unclear design objects in the comprehensive material painting of installation art, when materials enter the field of artistic creation, they can assist in artistic creation, but constantly updating materials is also a challenge for artists. This article utilized image processing technology in the digital media era to develop a comprehensive material painting design system for installation art. The aim was to use image processing technology to intelligently restore brightness balance, enhance restoration, and denoise paintings in integrated material painting, thereby improving the problems in installation art integrated material painting. In order to demonstrate the effectiveness of the designed installation art comprehensive material painting design system based on image processing technology, this article conducted relevant tests on the design system. The test results showed that the brightness of the 5 sample paintings without image processing technology was relatively dim. The brightness of character painting was the brightest compared to the 5 sample paintings, at 47.13%; the landscape painting had the lowest brightness, at 36.61%. The brightness of the five sample paintings processed by image processing technology significantly improved, and the brightness of all sample paintings reached over 70%. From this, it can be seen that the design system can effectively improve the quality of integrated material painting in installation art, and can also enhance the brightness of integrated material painting in installation art. Moreover, it can ensure a certain degree of recognition and clarity, and the design system has a high level of intelligence. This article hoped that the application of image processing technology in the digital media era in the comprehensive material painting design of installation art can effectively promote the improvement and upgrading of installation art comprehensive material painting design, and inject technological strength into the application of installation art in the comprehensive material painting design. This article can provide reference value for the design and development of installation art and comprehensive material painting. [ABSTRACT FROM AUTHOR]

"DPR - Musikal" is a highly acclaimed and ambitious musical theater video created by SkinnyIndonesian24 (Jovial da Lopez & Andovi da Lopez) that features a compelling environmental message. This piece depicts the contested meaning of nature and how it is influenced by different interests in the DPR. This research will examine the environmental politics discourses present in "DPR - Musikal" as an artistic creation that establishes a connection between environmental concerns and the notion of power. The research employed a qualitative approach and utilized Critical Discourse Analysis (CDA) by Norman Fairclough. Data was gathered through video transcripts, direct interviews with informants (Jovial da Lopez), and additional documents. This research identifies two discourses in the piece: (1) sustainable development which reconciles the objectives of development agenda and environmental conservation, and (2) anti-capitalism which is identified through the narratives of land privatization, natural resources exploitation, and capitalism's dominance in policymaking within the Indonesian parliament. These two discourses represent contrasting political thoughts, hence confirming incohesive solutions to the environmental problems. Although the producers condemn the dominance of business power and the exploitation of nature, they do not present a radical opposition to capitalism. Instead, they exhibit a lenient stance towards the development agenda, thus exemplifying the dominant influence of capitalist ideology within the musical theater production. [ABSTRACT FROM AUTHOR]

Despite the growing investment in literary tourism projects throughout the country in recent years, this offer is still too scattered and disorganised in Portugal, given its acknowledged literary wealth. This scenario led to the creation of the Cascais Literary Tour, a project developed as a master's thesis at the School of Arts and Humanities of the University of Lisbon (FLUL), with the decisive support of the Cascais Municipality. Based mainly on documentary research, it was a quest for the local literary heritage that culminated in the birth of a new tourist experience. Today, the Cascais Literary Tour can be followed independently, with the help of the material available online or with the free assistance of a guide. The first results showed that the lack of coordination between culture and tourism, highlighted in previous studies on the subject, had extended to the municipal level. Consequently, there is room for improvement in the dialogue. Although the Cascais Literary Tour was officially launched at the end of 2019, it has already inspired master's students at the Estoril Higher Institute for Hotel and Tourism Studies (ESHTE). They have added a gastronomic component to the existing route with their A Taste of Cascais project, with special gastro-literary events held in 2021, 2022 and 2023. If the recognition of the literary value of a place is based on the importance attached to a lively interpretation of the literary heritage, we can say that this principle has been respected in these initiatives, reinforcing the conviction that it is essential to go beyond the text and give to the literary experience a performative component. [ABSTRACT FROM AUTHOR]

For the past twenty-two years, productions by the Hareket Atölyesi Topluluğu (Movement Atelier Company), an all-female ensemble based in Istanbul, have related to spaces such as the country, the city, and the home. These spaces not only provide shelter but also give rise to existence and foster creation, thereby aligning with feminine characteristics and challenging hypermasculine powers. This article examines the works of Hareket Atölyesi Topluluğu using the concepts of chora, which refers to a formless interval, and of barzakh, which describes an in-between space. Ultimately, we seek to explore how these cultural conceptions of space inform artistic processes and resist hegemonic narratives. [ABSTRACT FROM AUTHOR]

This article introduces the second issue of Dance Chronicle, which focuses on the history of the journal itself. Dance Chronicle was co-founded by Jack Anderson and George Dorris in 1977 and has emphasized historical research in dance. The article includes an interview with George Dorris, who discusses the journal's inception and its early supporters. The article also announces the Dance Chronicle Book Review Award, which aims to recognize the intellectual labor of book review authors in the field of dance studies. Additionally, the article highlights four research articles included in the issue that explore various aspects of dance history and criticism. [Extracted from the article]