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Abstract: Almost every culture engages actively with the arts. Here, we explored how contextual information about content, artist, and technique impacts aesthetic experience. Contextual information increased aesthetic ratings for artworks in Indian and Northern American participants, especially in people more open to experience, and Northern American participants with low art experience. Contextual information reduced the ingroup bias for artworks, suggesting exposure to art may be a potential vehicle to mitigate prejudice against unfamiliar cultures. Similarities and differences in the routes to broader valuations of liking and beauty point to both anthropological universals and cultural specifics of the aesthetic experience. [ABSTRACT FROM AUTHOR]

Throughout the author's career, Neural Art, which is based on the functional properties of the nervous system, has been a significant part of his artwork. Three features stimulated his artistic development: (1) nervous systems as functioning networks, (2) sequences of neural impulses that operate within these networks, and (3) the interactions of nervous systems with external environments. This has resulted in three types of artworks: (1) artist's books, (2) paintings with overlaid grids to suggest the neural networks as interfaces between inner experience and outer reality, and (3) interactive sound sculptures and installations that, when viewers move around the pieces, generate nerve impulse–like sounds or words and phrases related to a nervous system experiencing the external environment. This paper describes the development of this artwork. [ABSTRACT FROM AUTHOR]

This paper analyzes Italian artist Auro Lecci's contribution to pioneering media art, beginning with his paintings and ending with his computer artworks (1969–1972). As the author suggests, Lecci's paintings were already characterized by an algorithmic method that the artist went on to develop in his computer-generated works. The paper first discusses the plotter drawings Lecci created at the Computing Center of the University of Pisa (CNUCE), and then focuses on his last computer art project, made at the University of Massachusetts in Amherst, to suggest connections between Lecci's work and artificial intelligence. [ABSTRACT FROM AUTHOR]

The article focuses on the concept of "debordering" in woodcut printmaking practice in an inter-Asian context, exploring how artists from East and Southeast Asia challenge and dismantle borders through their artwork. Topics include the political manipulation of borders, the formation of borders from various factors, and the role of woodcut printmaking in connecting marginalized communities and promoting dialogue across regions.

The museum exhibition, Indo + Caribbean: The Creation of a Culture, which ran at the Museum of London Docklands, offers a captivating and insightful exploration of the rich heritage and diverse traditions of the Indo-Caribbean community. Through a combination of artefacts, personal miscellany, for example, jewellery, letters petitioning the government from planter Sir John Gladstone, contracts, shipping company records, postcards and papers from the Parliamentary Archives and artworks, the exhibition provides a decent, albeit not exhaustive, overview of the historical, cultural and social aspects of Indo-Caribbean identity. [ABSTRACT FROM AUTHOR]

The article offers information on the use of data for action and the questioning of predictive models through artworks: The Life of C.B. and Les connus connus, les inconnus connus et les inconnus inconnus, created in 2010 by French artists Christian Boltanski and Julien Prévieux. Topics include the artists' exploration of statistics and insurance technology, challenging established statistical knowledge and the link between knowledge, prediction, and action.

The article focuses on the city of Lagos in West Africa and its significance in human development and modernity. It discusses how Lagos has been a hub of economic, political, and artistic activities for centuries, and how it has inspired artistic production by various creative minds. It examines the works of contemporary visual artists who has depicted Lagos in their artworks, analyzing paintings, sculptures, and drawings that represent the physical aspects and realities of the city and highlights the historical, geographical, cultural, and cosmopolitan nature of Lagos, as well as the challenges and joys of living in the city.

An introduction is presented in which the editor discusses a special issue exploring the intersection between Surrealism and the sacred, featuring artworks by collaborative visual artists Ryan M. Pfeiffer and Rebecca Walz.

The article focuses on the exploration of Louise Bourgeois's artworks, particularly her Spider sculptures, in the context of Surrealism and personal history. Topics include the symbolic significance of the Spider sculptures as an ode to her mother, Bourgeois's engagement with Surrealist ideas and rejection of them later in life, and the influence of Parisian Surrealist circles on her artistic development in the 1930s.

The article discusses the historical evolution of graphic analysis in paintings, exploring various methods artists have employed to diagrammatically represent the underlying structure and forms of artworks. It delves into 19th-century approaches to schematic drawings, contrasting two types of analytical schemas utilized by artists like David Sutter and Walter Crane in dissecting the compositions of artworks.

Copyright of Zarqa Journal for Research & Studies in Humanities is the property of Zarqa Journal for Research & Studies in Humanities 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.)

My aim in this article is to explore the role of perspectivism—roughly, the view that works of art prescribe a certain perspective—in aesthetic cognitivism and in the ethical evaluation of art, particularly as it features in the value-interaction debate. Although I am critical of perspectivism's capacity to shoulder an artwork's cognitive and ethical value, I find some of the arguments mounted against it, most notably those by Ted Nannicelli, misdirected, and I present several arguments against them. However, because my aim is to show that both aesthetic cognitivism and ethical criticism should move beyond a concern for the perspective, I offer a different criticism of perspectivism to demonstrate how it should be modified if it is to make a more substantial contribution to the ethical evaluation of art. I conclude by providing a sketch of what I call ethically minded criticism of art, that is, one that is concerned not with a perspective that a work advances but with revealing work's cognitive and ethical insights, that is thus better suited to promoting art's educational and cultural value. [ABSTRACT FROM AUTHOR]

Metabolism holds potential as both a crucial topic and an analytical tool for our current biopolitical moment, for understanding the agency and significance of material forces as they move into and through bodies. From this vantage point, this article suggests practicing a metabolic gaze by reading together metabolism and contemporary art. It discusses ways of defining metabolism that might be productive in helping to produce tools and touchstones for metabolic readings, before presenting examples of artworks that might be interestingly illuminated by light of this sign. [ABSTRACT FROM AUTHOR]

Scholars criticize privileging aesthetics over social and ecological considerations in park design. I argue that the real culprit is not aesthetics, but aestheticism. Aestheticism treats aesthetic objects as if they were ontologically distinct from everyday objects. Aestheticism in park design—treating parks like artworks to be admired like paintings—dovetails into treating parks like representations of a romanticized wilderness: of pristine, untouched landscapes. I argue that aestheticism is a means of constructing an ontological distinction between the beholder and the beheld, for landscapes are not truly pristine if they are sullied by human presence. As an alternative, and while drawing on the works of John Dewey and Yuriko Saito, I argue for a continuity between everyday objects and aesthetic objects. I also draw attention to the question of whose every day is privileged and propose to introduce Wittgenstein's concept of multi-aspectivity in the analysis of everyday affordances. [ABSTRACT FROM AUTHOR]

Experientialism in aesthetics is the view that the artistic merit or the aesthetic value of something is determined by the final value of certain experiences of it. These are usually specified as experiences of it with understanding and appreciation. Until recently, experientialism was the dominant view. Not anymore. Experientialists are now subject to a barrage of objections, many of which they have not answered. Here I argue that all of these objections fail. I develop a new form of experientialism that is immune to them. It also has an independent rationale. It incorporates an account of the value of art appreciation that is plausible in its own right. And it endorses many of the core insights of anti‐experientialists, especially concerning the final value of good art. Those of us unconvinced by experientialism need to take this form of it seriously. I conclude by identifying some genuine problems it faces. Even these aren't clearly insoluble. [ABSTRACT FROM AUTHOR]

This article examines the narrator's viewing of Jerusalem and Judea, the Jerusalem Temple, and the high priest's performance of the liturgy in the Letter of Aristeas (§§83–120). The first section considers the aesthetics that Aristeas views as operative in Jerusalem and demonstrates how his art-critical analysis of Jewish objects reveals them to follow Greek aesthetics more closely than Alexandrian artworks, which instead bespeak imperial excess. The second section proposes that, although he may appear to be on a military reconnaissance, the Letter highlights Aristeas' experience of witnessing and being overwhelmed by the high priest Eleazar performing the liturgy. In concluding, it suggests that Aristeas' mind-altering experience of viewing the liturgy in Jerusalem has great import for the narrative of the Torah's translation into Greek. Telling the story of a Jewish translation involves a Greek transformation. [ABSTRACT FROM AUTHOR]

The article focuses on the Diocesan Museum of Sacred Art in Vitoria-Gasteiz, Spain, which houses a collection of religious art with international significance, sourced from over 400 parish churches in the surrounding region. Topics include the museum's organization into various sections based on stylistic and chronological developments, materials used in the artworks, and the diverse origins of the artwork ranging from local to international artists and donors.

The article focuses on Aby Moritz Warburg's correspondence with Vincenc Kramář, Karel Chytil, and Čeněk Zíbrt, exploring their exchanges regarding illustrated editions of Jan Amos Comenius and artworks related to Rudolf II. Topics include discrepancies between Warburg's letters, the extent of his engagement with the Czech intellectual milieu, and the potential connection between his inquiries and his Bilderatlas Mnemosyne project.

Copyright of Revista Estudios de Filosofía is the property of Universidad de Antioquia, Instituto de Filosofia 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.)

Determining the input parameters for the calibration of a water mist extinguishing system in a compartment is important for the evaluation of the performance of the design. Although there is a lot of research on the use of water mist, it is still difficult understand the behavior of the system in terms of safety of people and protection of things. In this study, we aimed to conduct an experimental analysis to evaluate the effectiveness of water mist extinguishing systems in protecting paintings in art gallery museums. We compared onsite tests in a compartment of an art gallery and a numerical analysis carried out with Fire Dynamics Simulator (FDS). Numerical analysis using FDS included the water-cooling effect and the heat power in the simulated environment and the calibration for a model was found by reproducing the onsite results. The temperature trend was monitored as an essential parameter for the protection of the paintings. The study aimed to not only verify the effectiveness of the water mist system but also investigate the reproducibility of real-scale conditions through a simulated environment. The most important result obtained is the possibility of using a simulated environment instead of real-scale tests in order to test water mist capabilities. [ABSTRACT FROM AUTHOR]

The article explores the intersection of falconry, political power, and Netherlandish landscape painting, shedding light on how falconry served as a tool of authority and symbolized dominance over the landscape. It focuses on analyzing the political landscapes depicted in artworks by artists like Jan Breughel the Elder, revealing the visual construction of power through falconry.