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Storytelling is a powerful tool that connects us and shapes our understanding of the world. Theories of effective storytelling boast an intellectual history dating back millennia, highlighting the significance of narratives across civilizations. Yet, despite all this theorizing, empirically predicting what makes a story successful has remained elusive. We propose narrative reversals, key turning points in a story, as pivotal facets that predict story success. Drawing on narrative theory, we conceptualize reversals as plot: essential moments that push narratives forward and shape audience reception. Across 30,000 movies, TV shows, novels, and fundraising pitches, we use computational linguistics and trend detection analysis to develop a quantitative method for measuring narrative reversals via shifts in valence. We find that stories with more, and more dramatic, turning points are more successful. Our findings shed light on this age-old art form and provide a practical approach to understanding and predicting the impact of storytelling. [ABSTRACT FROM AUTHOR]

The article examines the dual nature of the fantastic and the magical in the fairy-tale world of Nikolay Raynov. On the one hand, it thrives in a universe completely different from reality. But, on the other hand, it is not a refusal to accept the human situation but rather a way to enrich this situation. The human is situated on the horizon of an ethical imperative that predetermines the fate of the characters. It stands to reason that authorization is a step from magical to fantastical. Parallels have been sought both with Propp's morphology and with Bettelheim's psychoanalytic optics. The existential choice of the heroes turns them into warriors o flight and bearers o flight, which, as a manifestation of the divine in man, is a key concept in the philosophical, theosophical, and artistic works of the prominent Bulgarian classic. [ABSTRACT FROM AUTHOR]

The The following article aims to identify the contemporary sublime in Olafur Eliasson's light installations and aims to identify the different potentials of light in the artist's works. The method of the current research is qualitative and based on the objective approach, which was compiled by descriptive, analytical and document collection methods. In his large installation, Olafur Eliasson creates an immersive atmosphere by using elements such as light, which surprises his audience and in which the sensory and emotional experience of the audience becomes decisive. Eliasson's art of light holds the audience accountable and encourages them to enter a state of heightened awareness. The artistic use of light transforms Eliasson's material identity and gives it an energetic personality and the viewer accordingly can experience a deep and meaningful connection of the works. The results of the research showed that Eliasson's light installations can represent contemporary sublime. By deconstructing the Romantic tradition, Eliasson sharpens the viewer's understanding of the sublime in such a way that he can see himself in this powerful perception and reconnect with the sublime power found in natural phenomena in communicative forms. The concept of "sublime" creates more questions than it answers, and today the word "sublime" is often used in conversation as an ambiguous word and yet, it has a complex and rich history in the fields of art history, philosophy, and literary criticism that has continued to fuel aesthetic and theoretical debates. There is still much controversy over the experience of "hepsos", meaning exaltation (Longinus, 1991), which is a subjective response to the individual and there is little consensus on what it actually means. Whether represented by an object, event, feeling, or state of mind, the "sublime" refers to something higher and beyond the reach of full understanding. Contemporary artists who use light, such as Olafur Eliasson, aim for a space created by light in the first place. In fact, light is a sculptor of space and a means of perception. Space is enlightenment: a perceptual process in which one can learn to notice, observe, and feel the feats performed by light that link light, space, and perception a link that is often forgotten in our daily lives. Eliasson's compositional works have a unique quality in which light and space play a key role and the audience is made to think about the mutual relations of light and the space around it. Eliasson's installations may represent today's sublime contemporary, yet we know that technology is accelerating and opening new doors for experimentation in science, art and culture. Many of his works are an example of where the sublime can go. Eliasson allows his modern audience to reconnect with the supreme power of natural phenomena in a mediated way, as he recognizes the attraction of the 21st century to the landscape of nature. With the ability to surprise the audience with his artificial nature, Eliasson engages his feelings about the sublime, and through this passage, the sublime of today's technological world is linked to the past and pristine nature. [ABSTRACT FROM AUTHOR]

When dealing with such topics as lighting setup, particularly in a puppet production, and its impact on the actor, namely the puppeteer, the main goal is to emphasize the importance of a stage element that is often ignored by the director and the lighting technicians as well as by other members of the production crew including the actor, the scenographer or the coreographer. My interest in this issue is not of recent date and the present article is the result of both collecting information on lighting techniques and concepts (lighting points, positions, dimensions, technical equipment, aso) and interviewing lighting technicians in this art, as one may call it, on their correlation to every phase in the evolution of a production. I do not claim to have supplied clear solutions to the above matter, but I have opened a path for debate for those that are interested in such aspects, mostly for those that can actually address this issue in an appropriate manner when working on the lighting setup of a puppet production or other stage production. [ABSTRACT FROM AUTHOR]

Sociological deployments of Radical Italian theory have offered insight into the changing role of art in light of the generalised valorisation of creativity in post-Fordist societies. Less has been said about the increasingly useful character of art, as exemplified by artistic engagement with interdisciplinary forms of problem solving. This article focuses on the field of practice commonly known as ArtScience. I argue that Lazzarato's theory gains new relevance in this novel field of cultural practice, where material production is an increasingly minor element of artistic labour. I draw on two case studies from artists practising ArtScience in Berlin as speculative provocations for thinking about the ways in which social life today becomes implicated in the production of value, via processes of subjectivation, collaboration and communication. [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]

Copyright of AugenBlick is the property of Schueren Verlag GmbH 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 given text includes three book reviews. The first review discusses a book titled "Natural Light: The Art of Adam Elsheimer and the Dawn of Modern Science" by Julian Bell. The reviewer criticizes the author for not acknowledging the origin of the book title and for speculating about the artist's connection to astronomy without sufficient evidence. The second review is about a book called "The Square Kilometre Array: A Science Mega-Project in the Making, 1990-2012" by Richard Schilizzi, Ronald Ekers, Peter Dewdney, and Philip Crosby. The review highlights the unique aspects of the Square Kilometre Array project, including its international nature and grassroots origins. The third review provides a brief history of radio astronomy and discusses the ambition behind the Square Kilometre Array project. [Extracted from the article]

The article "Lux Magna. The Spectacle of Light in Architecture and Art" by Irina- Andreea Stoleriu and Oana Maria Nae explores the cultural history of light in visual arts from Late Antiquity to the dawn of modernity. The authors delve into the aesthetic and art historical significance of light, drawing on various theories and emblematic works of architecture, sculpture, and painting. The book is divided into three chapters, covering topics such as the metaphor of light in medieval thought, light and space in medieval art and architecture, and the evolution of light in Renaissance, Baroque, and Enlightenment art. The study highlights the role of light in shaping artistic representations, religious symbolism, and scientific innovations, making it a valuable resource for students, researchers, and art history enthusiasts interested in the use of light in art. [Extracted from the article]

Healthcare has witnessed a profound transformation over recent decades, one catalysed by the relentless march of technology. As the healthcare landscape evolves, the integration of technological innovations has become increasingly ubiquitous, revolutionising traditional care delivery models, and introducing novel paradigms. Amidst this advanced landscape, a particular focal point emerges, centred on the symbiotic relationship between technology and healthcare, embodied by the burgeoning field of e-healthcare. Within the broader expanse of healthcare, orthopaedics represents a significant frontier where the confluence of technological advancement and patient care has garnered attention. Orthopaedic practice, by its nature, often necessitates precision, innovation, and multidisciplinary collaboration. From diagnostic imaging modalities that offer unparalleled insights into musculoskeletal structures to wearable devices that empower patients to engage actively in their recovery, technology within the orthopaedic field catalysed a change. The main objective of this paper is to conduct a comprehensive assessment, shedding light on the state of the art in technological advancements within e-healthcare, with orthopaedics as our focal domain. At the heart of our research is a central concern: the orthopaedic-patient relationship. The importance of this relationship cannot be underestimated, as it is the foundation on which healthcare is provided. Our aim, therefore, is twofold: to elucidate the extent to which technology influences the orthopaedics-patient relationship and to uncover novel avenues through which this pivotal relationship can be fortified and optimised. The impetus behind this assessment is rooted in the dual importance of technological innovation and the orthopaedics-patient relationship. As orthopaedic practitioners increasingly harness technology and platforms, the potential for improved patient care, more informed decision-making, and enhanced outcomes beckons. However, these opportunities come hand in hand with challenges, including ethical and privacy concerns and the imperative to ensure that technology augments rather than diminishes the patient-physician bond. In this context, our assessment aims to contribute to the ongoing discourse of technology integration into healthcare, highlighting the unique dynamics that play within orthopaedic practice. [ABSTRACT FROM AUTHOR]

This paper describes the design process for The Mind at Work, a light and sound art installation using networked devices, as a case study in working creatively with complex and unknown technological systems. The art installation evoked the development of a reusable framework for making scalable, re-configurable, audiovisual systems, while creating a specific artwork for a gallery exhibition. The development process was observed systematically to understand how creative coders navigate the challenge of integrating the technical and aesthetic considerations simultaneously. Building on existing design literature, the research is centred on an activity we call space shaping: setting up an environment to create tools for exploration. We consider critical points in the design process which affect how space shaping takes place [ABSTRACT FROM AUTHOR]

Article 182 of the Customs Proclamation (Proclamation No 859/ 2014) provides that cases pending before the coming into force of the Proclamation shall be treated in accordance with the previous law. In Melaku Fenta et al, the constitutionality of this provision was challenged because it denied the retroactive application of criminal law in favor of the accused. In its decision, the CCI declared the provision as constitutional and this comment aims to examine this decision. By examining the decision in light of Art 22(2) of FDRE Constitution, domestic laws, international legal frameworks and the literature concerning the retroactive application of criminal law in favor of the accused, this comment argues that the CCI should have declared Art 182 as unconstitutional to the extent it denied the retroactive application of criminal law in favor of the accused. Determining whether the accused could benefit from the decriminalization should have been left to the court to decide. [ABSTRACT FROM AUTHOR]

The article is devoted tо the specific question in Russian art history – to the problem of light in the works of J. Balla from the perspective of Light art genesis. The insufficiently researched genesis of light art .in Modernism and Italian Futurism is followed by the incomplete understanding of phenomenon. This circumstance requires an appeal to the historical roots of Light art, particularly, to the period when artists started including artificial light into the practice of fine art and started using it as a medium. As a result of the research in the art of J. Balla the genesis of Light art has been revealed. The article examines the consistent change in the approach to light in the main futuristic manifestos and works of art. In Balla’s paintings of the 1910s, light was used as an image and element of art, while in plastic complexes and scenography of the theatrical production “Fireworks” it was used as a material (medium). The ballet “Fireworks” is proposed to be considered as prototypical work of light art. The results of the study can be used in the art historical research and cultural analysis of the history and modernity of light art. The research methodology is based on the art historical analysis of texts and works of art, as well as on the comparative method.

Incomprehension of and resistance to contemporaneous art have been constant features in the development of modern art. The predictive coding framework can be used to analyse this response by outlining the difference between the misunderstanding of (i) contemporary conceptual/minimalist art and (ii) early modern avant-garde art and by elucidating their underlying cognitive mechanisms. In both of these cases, incomprehension and its behavioural consequences are tied to the failure of the optimal prediction error (PE) minimization that is involved in the perception of such art works. In the case of contemporary conceptual/minimalist art the failure stems from the fact that the encounter results in non-salient visual sensations and generates no PE. In early modern avant-garde art, the occasional inability of viewers to recognize pictorial content using new pictorial conventions reflected the absence of suitable priors to explain away ambiguous sensory data. The capacity to recognize pictorial content in modernist painting, as a prerequisite for a satisfying encounter with such works and ultimately a wider acceptance of new artistic styles, required an updating of a number of expectations in order to optimize the fit between priors and sensations, from low-level perceptual priors to the development of higher-level, culturally determined expectations. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'. [ABSTRACT FROM AUTHOR]

Panji masks are one of the mask arts that originated in Indonesia and come in a variety of styles. One of the existing Panji mask styles is the Yogyakarta style, made of Pule wood and used in dance or theater performances. While in Japan, masks used in dance or theater performances, known as Noh masks, are made of cypress wood. Panji masks and Noh masks are long-standing cultural heritage arts. This study aims to identify and analyze the similarities and differences between the elements of art and the principles of art preserved in the Panji and Noh masks. A comparative qualitative method was used for the study. Library research, observation, interviews, documentation, and focused group discussions (FGD) were used to collect the data. Data processing and preparation, data reduction, data presentation, and conclusion drawing were all completed in stages. The results revealed similarities and differences between the Panji and Noh masks. Several principles are shared by Panji and Noh masks, including point elements, line shape, the principle of unity, balance, rhythm, proportion, and the principle of harmony. The line, field/shape element, color element, texture element, and emphasis principle are all different. These similarities and differences are due to a variety of factors, including the two countries' geographical proximity (both on the Asian continent), as well as their history, customs, and culture. [ABSTRACT FROM AUTHOR]

The Archives of American Art has acquired two new collections that deepen their holdings of postwar Los Angeles artists. The Michael Brewster Papers contain materials related to his career as a sound artist, including recordings and documentation of his site-specific works. The Elyn Zimmerman Papers document Zimmerman's interest in the resonance of architectural spaces through light, featuring images and drawings of her innovative glass plank installations. These collections provide valuable insights into the work of these artists and contribute to the understanding of site-specific practices in Southern California. [Extracted from the article]

Copyright of FinanzRundschau 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.)

Among the seventeenth-century state papers held at the National Archives at Kew is a list, dated 1670, of fifty-four works of art that were for sale at that time in Italy. The document was penned by John Dodington, an English diplomat who had recently taken up a post in Venice. Despite providing a wealth of detail on the objects for sale – several of which he ascribed to some of Europe's most illustrious painters and sculptors from the fifteenth to the seventeenth centuries – Dodington neglected to name the owner of this impressive assemblage. This article establishes the identity of the seller, recounts the history of his collection, and traces the ultimate fate of some of his possessions. [ABSTRACT FROM AUTHOR]

The first decades of Victor Pelevin's writing coincided with the burst in popularity of neo‐Eurasianist and neo‐imperialist ideas. This paper traces the various forms that Pelevin's treatment of civilizational and geopolitically focused ideologies has taken over the course of his career. His preoccupation with these ideas ranges from inconspicuous reflection of the Eurasian phenomenon to Eurasianism's intensifying critique, and, eventually, to a more comprehensive engagement with concepts of classical geopolitics. If early on Pelevin's portrayal of neo‐imperialists and their ideas has been largely satirical (Empire V, 2006), in the 2010s his texts began to demonstrate a deeper entanglement in civilizational thought and expression of a geopolitical worldview. "Operation 'Burning Bush'" (2010), S.N.U.F.F. (2012), and Batman Apollo (2013), while maintaining a satirical take on aspects of the neo‐imperialist worldview, reveal the author's internalized perception of the world as a stage for the clash of civilizations, and Pelevin's seemingly growing conservatism. Ultimately, as postmodernist tendencies become common in the political sphere, Pelevin again blends the esoteric and the political by bringing Eurasianist noospherism into "The Art of Light Touches" (2019), lending a metaphysical angle to the antagonism between Russia and the West, and demonstrating how fiction can penetrate public discourse and vice versa. [ABSTRACT FROM AUTHOR]

Thomas Wilfred (1889–1968) invented an idiosyncratic artform, 'lumia', that projected coloured light onto screens. With these contraptions, Wilfred aimed to expand the concept of art beyond standard media categories. Yet critics and curators historicized lumia within the tradition of painting, and the artist himself adopted a form of museological presentation – the frame – for his works of the 1950s. Close consideration of a work in the holdings of the Metropolitan Museum of Art sheds light on how the disciplinary framework of museums obscures intermedia objects that prompt new approaches to their collection and interpretation. [ABSTRACT FROM AUTHOR]