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From infancy, we spend considerable time absorbing social information from the external world. Social information processing, which starts with looking at facial expressions, affects behavior and cognition. Previous research has demonstrated that looking behaviors at social cues such as faces may differ in individuals with autism spectrum disorder (ASD) by using eye‐tracking studies with real photographs and movies. However, mixed results have been reported. In this study, we examined whether autistic traits in adults affected gaze behavior when participants viewed paintings. The eye‐tracking results indicate that gaze patterns change over time during a 20‐s free‐viewing task. Although the fixations were not influenced during the first 10 s of the viewing, autistic tendencies affected gaze behavior after the overview of the painting was completed: the higher the autism‐spectrum quotient scores, the shorter the fixation duration and the fewer the fixations on the facial areas of the paintings during the latter 10 s of viewing time. This result indicates that the atypical gaze behavior was more likely to be modulated by a generalized attentional process for endogenous orienting with reduced interest in social cues. Gaze patterns of viewing paintings may be used to predict autistic tendencies among people undiagnosed but suspected of having ASD. [ABSTRACT FROM AUTHOR]

The cultural habitus that characterises care environments recognises in the patient not only physical suffering but also emotional fragility and the need for understanding, support and listening (Bruzzone, 2020). This necessarily presupposes a professionalism on the part of healthcare personnel adhering to a behavioural code of humanity and altruism (Consorti, 2014). An empathic dimension that implies costs for the practitioner's well-being and emotional dissonance (Glomb & Tews, 2002). Which, over time, can lead to states of compassion fatigue, depersonalisation and bournout (Schaufeli, 2017). Therefore, the object of the present contribution is a practical-poetic reflection (Damiano, 1993) on the pedagogical action of Graphic Medicine (Czerwiec et al 2015) capable, this, of activating a paradigm of well-being and self-care for caregivers (Calabrese, 2019). Through an aesthetic and medial method, it will be demonstrated how the art of comics is a valid instrument of well-being. [ABSTRACT FROM AUTHOR]

Infrared thermography is a cost-effective non-destructive evaluation technique that plays a critical role in extracting information about defects in cultural heritage such as works of art. However, in-depth studies on the internal structure of contemporary artworks using infrared thermography remain lacking, and therefore, a deep convolutional autoencoder thermography (DCAT) data analysis method is proposed for defect detection of contemporary artworks. In the proposed method, original data are enhanced by convolution to reduce the noise and inhomogeneous background in the original thermal images; subsequently, a deep autoencoder is used to extract nonlinear features from the enhanced thermographic data, and the results of the hidden layer are visualised. These visualised images highlight information regarding the internal structure and defects of the artwork. The case study on a handmade replica of Picasso's 'La Bouteille de Suze', reproduced exactly as the original, has shown that DCAT significantly improved the accuracy of defect detection when compared with that of commonly used methods. [ABSTRACT FROM AUTHOR]

The regulation of Intellectual Property Rights (IPR) in works of art by robots and algorithms is a controversial subject due to the ability of Artificial Intelligence (AI) to produce works of art that closely resemble human intelligence independently. In situations of commercial use, legal and ethical problems arise when digital works are created without the permission of the original copyright owner. The aim of this research is to determine the identification of copyright owners in the context of works of art created by robots and algorithms, as well as explain the protection of moral and commercial rights for creators of works of art that involve the use of robotic technology and algorithms. This research uses normative juridical methods and analytical descriptive approaches to analyze documents, regulations, and other reference sources related to the issue under study. The results of this research show that artificial intelligence has the ability to work independently, produce products, and make creative judgments alone. In most cases, programmers consist of individuals who enter data and algorithms. The main task of artificial intelligence is to understand and develop real results based on commands. With this, we can create an environment that supports creativity and innovation while respecting individual rights and encouraging fair and ethical use of digital works.

I artikkelen blir det undersøkt hva slags kunstverksbegrep som ligger til grunn for legaldefinisjonen i merverdiavgiftsforskriften § 1-3-2. Inntil en omfattende forskriftsendring i 2017 førte forskriften til hyppig strid mellom kunstnere og avgiftsmyndighetene på grunn av en foreldet kunstdefinisjon. I artikkelen blir det drøftet hvor hensiktsmessig den nye avgrensningen av kunstverksbegrepet er etter sitt formål. Det blir samtidig gjort noen tanker rundt kunstfilosofiens utfordringer i dens mange forsøk på å definere kunstbegrepet. Utfordringene har fått enkelte til å hevde at begrepet ikke lar seg definere. I artikkelen blir det argumentert for at det foreligger reelle behov for å definere kunstbegrepet i ulike sammenhenger, og at forskriften viser at det er fullt mulig å formulere hensiktsmessige definisjoner til bestemte formål.

The COVID-19 pandemic changed people’s lives and resulted in tremendous pain, loss and suffering. The Rio Grande Valley (RGV), in the state of Texas in the U.S., was one of the regions with the highest number of infections and deaths during the pandemic. However, individuals’ bereavement in the RGV is rarely addressed. In this qualitative study, a snowball sample of 47 individuals who had lost their loved ones during the years 2020–2021 were interviewed and invited to engage in an art activity. The findings revealed four themes: peculiar funeral, grieving confusion, loved ones’ memories, and connection to self and the lost one through art. Results indicate that the collective aspect of the funeral was disrupted during the pandemic and created emotional numbness and denial. The intensity of grieving did not decrease with time. The participants mainly relied on their family support and rarely sought professional help. A culturally adapted intervention is needed to address long-term bereavement in this community. Analysis of the art activities indicated that all participants had a feeling of peace and relief afterward, especially male participants who had difficulty expressing their emotions. The participants reported that the artwork positively affected their grievances and that the process was satisfying. [ABSTRACT FROM AUTHOR]

This article explores the use of creative approaches in digital making as a platform for developing both creativity and digital skills in art students. It illustrates the ways in which digital media enhance students' creative approaches, exploring their impact on their artistic development. Using specific examples of solved problems, it introduces possible ways of creative approaches to working with the medium of digital image. The article offers insights into the potential benefits and ways of creative experimentation with the medium of the digital image in art education. [ABSTRACT FROM AUTHOR]

Copyright of Gumushane Universty Electronic Journal of the Faculty of Communication / Gümüshane Üniversitesi Iletisim Fakültesi Elektronik Dergisi is the property of Gumushane Universitesi Iletisim Fakultesi Elektronik Dergisi (e-GIFDER) 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.)

This paper presents computer and color vision research focusing on human color perception in VR environments. A VR art gallery with digital twins of original artworks is created for this experiment. In this research, the field of colorimetry and the application of the L*a*b* and RGB color models are applied. The inter-relationships of the two color models are applied to create a color modification of the VR art gallery environment using C# Script procedures. This color-edited VR environment works with a smooth change in color tone in a given time interval. At the same time, a sudden change in the color of the RGB environment is defined in this interval. This experiment aims to record a user's reaction embedded in a VR environment and the effect of color changes on human perception in a VR environment. This research uses lie detector sensors that record the physiological changes of the user embedded in VR. Five sensors are used to record the signal. An experiment on the influence of the user's color perception in a VR environment using lie detector sensors has never been conducted. This research defines the basic methodology for analyzing and evaluating the recorded signals from the lie detector. The presented text thus provides a basis for further research in the field of colors and human color vision in a VR environment and lays an objective basis for use in many scientific and commercial areas. [ABSTRACT FROM AUTHOR]

My art is about my passion and expression of doodling, allowing the inherent ability of a line, a shape, or a colour to give voice to complex dialogue and relation with the painting. I paint to music, all kinds, that brings an intensity and energy that seems to take on a life of it's own within the work. Visit my website at https://www.jancorcoran.com.

The article analyzes the various ways of articulating together the four concepts of the debate: the book, the medium, the text, and the work of art. Schematically, this encounter through the book object outlines three distinct regions : where the book plays a documentary role in relation to an external work of art, where it plays the role of an element integrated into a comprehensive visual artwork, and where it functions itself as a work of art in its own right.The aesthetic effects of books on the art objects they refer to are examined to show how they oscillate between aesthetic neutrality and media reinvention, including the addition of a sensual or symbolic charge.Finally, the article focuses on what it calls “bookish arts,” encompassing pop-ups and manuscripts as well as artist’s books and illustrated books, to precisely describe each piece of this patchwork where the book truly becomes the work of art.

The article is a theoretical-practical study, focused on valorization of the visual arts education for design students in the context of museum education. The paper reveals fundamental concepts, identifies certain perspectives to researches in the targeted field. Additionally, it specifies and describes several essential educational aspects, such as the objectives of visual arts education; the value axes centered on visual arts education; cognitive processes developed by design students during activities carried out in museums; educational actions regarding the optimization of visual arts education for design students; strategies and methods (scientific documentation, analysis and synthesis, conversation, product study, etc.) of enhancing visual arts education for design students. The study specifies, analyzes, and validates the positive impact of activities conducted in museum spaces on the visual arts education of design students, focused on achieving these aspects in the context of university-museum collaboration. In conclusion, an approach to visual arts education of design students from the perspective of national and universal artistic heritage can ensure both the optimization of initial training for design students and lifelong education.

In recent years, artificial intelligence has created significant developments in various artistic fields, including architecture, cinema, music and other artistic fields, by providing innovative facilities, tools and techniques. Especially in the field of visual arts, it has caused the creation of significant works of art, whose nature requires a more detailed evaluation and understanding. Therefore, like any other transformative technology, the integration of artificial intelligence in the world of art and its undeniable role in the creation of works of art raises many questions and considerations that may not have been carefully examined until now. Among the most important of these questions comes back to the performance of artificial intelligence in creating an original work of art. Specifically, the question of whether artificial intelligence can create works equal to human works of art? Since AI is algorithm-based and often trained on existing art, can its output be considered a creative and authentic work of art? Therefore, the main goal of this article is to investigate the performance of artificial intelligence in the production of original works of art. Artificial intelligence is closely related to behaviorism, as one of the most important theories of philosophy and psychology. The emphasis of this theory is on performance or "observable behavior" as the main focus of understanding and analysis. Therefore, in this research, the performance of artificial intelligence is evaluated based on this approach at the level of behavior. For this purpose, the approach of behaviorism and its connection with artificial intelligence will be briefly discussed at first. Then the Turing test is described as a central test in the field of artificial intelligence. This test provides a behavioral criterion for measuring the intelligence and creativity of the machine. In the next section, two categories of works of art will be evaluated according to the behavioral criteria of the Turing test and considering the main elements of original works of art. These two categories include works produced by artificial intelligence and works created by humans. In this way, by using different sources, data related to art works from artificial intelligence are collected and described in a qualitative way. Then these data are compared with the elements found in human works of art and are analyzed based on the main criteria of the Turing test. This review provides a good basis for evaluating the machine's performance compared to humans. As mentioned, in the present research, in order to investigate the performance of artificial intelligence in creating an original work of art, firstly, the approach of behaviorism and its relationship with artificial intelligence is explained. Behaviorism is a school of thought in philosophy and psychology that claims that mental states such as thoughts, feelings, and beliefs can only be understood in terms of their relationship with "observable behavior". According to behaviorists, behavior can be explained based on causal relationships between environmental stimuli and behavioral responses. The focus of this research is on philosophical behaviorism. Philosophical behaviorism, also known as logical behaviorism, is a theory about the nature of the mind. Behaviorists in the field of philosophy also believe that mental states can only be explained in terms of behavior. In other words, mental states are only descriptions of certain types of behavior. This approach originated from the works of philosophers such as Gilbert Ryle and Ludwig Wittgenstein. From the 1950s until now, the connection between behaviorism and artificial intelligence was formed. Although these two may seem different from each other, they both pay special attention to "observable behavior". The initial research of artificial intelligence was influenced by the principles of behaviorism. For example, the Turing test, which is one of the most popular artificial intelligence tests, is basically a behavioral evaluation. Just as behaviorists consider the only valid data for studying the mind to be "observable behaviors," the Turing test also shows that a machine can be considered "intelligent" based on its "observable behavior" regardless of its internal processes or understanding. Therefore, this test provides a suitable criterion for measuring intelligence based on performance and "observable behavior". The Turing test is conducted through a question and answer process. A human evaluator or judge asks an unseen audience, either a human or a computer, through a text and with a computer, and based on the answers, he must determine whether he is talking to a human or a machine. If the judge cannot distinguish the machine from the human in the answers he receives, it is said that the machine has passed the test successfully. The results of this test depend on how much the machine's answers to the questions are indistinguishable from the answers given by a human or how similar they are to human answers. In this section, the performance stages of the Turing test are formulated as follows: 1. Input behavior: the evaluator provides data to the machine and asks for an output from it. 2. Output behavior: Then the machine responds to the input. This answer is "observable behavior" in this context. At the end of this section, in order to take advantage of the main criteria of the Turing test in order to evaluate the performance of artificial intelligence in the creation of artwork, a new formulation of this test in the field of art is presented, which is as follows: 1. Input behavior: The programmer provides data related to the creation of the artwork to the machine and asks it for an artwork. 2. Output behavior: Then the device produces the artwork in response to the input data. The output of the machine is "observable behavior" in the context of art. In the next section, first, the main elements of the works of art created by humans are listed as "observable behaviors". These elements provide criteria for measuring the artistic performance of artificial intelligence and include: form, content, style, context, intention, impact, innovation and novelty, complexity and depth, adaptation and evolution, individuality and uniqueness. These elements can interact in complex ways to create a rich and multifaceted work of art that engages the viewer's senses, emotions, and intellect. Therefore, they can be evaluated as "observable behaviors" in the works produced by artificial intelligence and compared with human art. In the following, the main components of a number of works produced by artificial intelligence are compared with the components in similar works of art created by humans. In this section, according to the main criteria in the theory of behaviorism and the Turing test, which only focus on "observable behaviors" rather than mental processes, it will be evaluated that the elements of the works of artificial intelligence as "observable behaviors" to what extent and in what ways are similar to the elements in human works of art. In addition, to what extent artificial intelligence has been successful in creating a human-like behavior in order to create a work of art. By comparing the work of Tom White and Wassily Kandinsky's machine, it can be seen that both of them turned to abstractionism in the creation of works of art, and with this method, in their works, they revealed new concepts in relation to visible reality. By taking a creative approach, Gene Kogan and Jackson Pollack have abandoned the usual traditions to create original works of art; They have found art in many things that are not in the art scene or do not even call themselves art. Obvious's machine and Caspar Netscher consider realism in their works. Light is considered one of the basic elements of their images, as its intensity and angle of radiation emphasize the inner power of the portrait in their paintings. paintings by Robbie Barratt's machine and Claude Monet are both in impressionism style. The elements in their works have vague and often abstract lines. The colors have been combined with each other in such a way that they have created a soft surface and cover, and the way of using natural light in their paintings has made them attractive. To pass the Turing test, the only thing that was considered was how close the answers of the machine are to the answers of a human. In this research, just like the hypothesis that was raised in the Turing test, by evaluating the similarities between the works of artificial intelligence and humans, it is shown that machines have the same "observable behaviors" as human artists in creating works of art. to be Therefore, they pass the Turing test successfully. Therefore, they can be considered intelligent. In the present research, the result is that artificial intelligence can express itself effectively and with a distinctive style in terms of "observable behavior" in the creation of artwork and create original and creative works, just like human works. [ABSTRACT FROM AUTHOR]

This study delves into the integration of the philosophical concepts of space and time within the context of Diriyah's rich cultural and historical backdrop, aiming to leverage these concepts as foundational pillars for innovative artistic design within the visual arts and design domain. It adopts a hybrid methodology that combines descriptive and analytical techniques for its theoretical framework with experimental approaches for practical application. The outcomes underscore the feasibility and potential of melding space and time philosophies to foster unique design ideas for installation art, thereby enriching the visual arts and design landscape. Some recommendations were presented including engaging deeply with philosophical themes such as the essence of space and time. This research not only contributes to the artistic valorization of Diriyah's heritage within the framework of Saudi Arabia's Vision 2030 but also propels forward the discourse on integrating architectural heritage with contemporary art practices. [ABSTRACT FROM AUTHOR]

Copyright of Ars is the property of Slovak Academy of Sciences, Institute of Art History of SAS 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 Bulletin of Ablai Khan KazUIRandWL: Series 'Philological sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages 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 Electronic Turkish Studies is the property of Electronic Turkish Studies 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 article is focused on the creation of three plastic artists from the Republic of Moldova, who would have celebrated their centenary this year – Igor Vieru (1923-1988), Ilia Bogdesco (1923-2010), Mihail Petric (1923-2005). Their contribution is a significant one for national art, each one leaving a considerable mark in the field and genre they work. Several aspects and factors of the creative process of each individual artist are mentioned in the article. The thematic topics addressed are described, the components of the plastic language used in the process of creating a work of art, and the types of plastic and technical realization of the works are revealed. In their creation there is a coexistence of traditional and innovative elements in the plastic treatment of works of art. Depending on the historical period, the illustrative-realistic vision in painting (I. Vieru, M. Petric) is replaced by a decorative one, inspired by Romanian plastic folklore and the aesthetic concepts of modern European art (post-impressionism, Fauvism, etc.). In the creation of the graphic artist Ilie Bogdesco, who prefers a „classic” work technique, technical procedures and stylistic features not specific to contemporary national graphics are encountered. He practices calligraphy in book illustration and develops a new author’s technique, based on the text from the national medieval miniatures. Poets in soul and philosophers in thought, the celebrated artists remain trailblazers for the plastic arts in the Republic of Moldova, who have left a unique spiritual trail in their track record.

Abstract In the context of bio-deterioration of cultural heritage, the Lavandula angustifolia Mill. plant proves to be of interest for a green approach to the preservation of art manufacts on organic media. Supercritical CO2 fluid extraction (SFE) was utilized to obtain both lavender essential oil (E2LS3) and hydrolate (E2LS3A), while ultrasound assisted maceration in n-hexane:ethanol (99:1, v:v) provided LA2/1 extract. The extracts, all chemically characterized by UHPLC-HRMS and GC–MS analyses, were screened for their antifungal capability towards six fungi isolated from the plywood support of Haim Steinbach's contemporary artwork "Un-color becomes alter ego #2" (1984). To this purpose, disk diffusion method was applied on both mycelium and conidial suspensions to unravel whether the inhibitory activity affects the growth of fungi at different life cycle stages. The micro-atmosphere method was also explored to assess the response of fungal growth in a saturated atmosphere. Data acquired highlighted that SFE-obtained lavender essential oil, whose oxygenated monoterpene part mostly accounting for terpinene-4-ol, borneol, linalool, camphor, and 1,8-cineole, proves to be a dose- and time-dependent inhibitor of fungal growth. It has also been shown that exposure to the oil vapor phase is more effective at very low dose levels. The promising results allow us to hypothesize the use of the essential oil for treating fungal colonization by exposure to its volatile components in a modified atmosphere environment, with no direct contact with the artwork. Graphical abstract

Gamma radiation is an effective technique for the conservation of art collections, reducing microbial loads and can be obtained by the emission of a radioactive isotope, such as Cesium 137. A Portinari's artwork (National Museum, Brazil) was analysed, and the fungi contained therein were isolated and treated with gamma radiation for decontamination. Radiation doses used were 16, 19 and 22kGy. Results indicated 11 genera and 17 species of fungi isolated. Penicillium and Cladosporium were isolated from air, the artwork, and its support. The genera Penicillium, Cladosporium, Nigrospora and Curvularia showed high resistance to radiation (16kGy) being the most resistant species Cladosporium, with no growth just under 22kGy. The results outlined indicate that the rates of DNA damage and repair were critical, depending on chronic or acute doses. The biochemical mechanism acting on fungal cells under irradiation was basically the inactivation of specific enzymes and, probably, DNA damage, particularly stimulating double-strand breaks. [ABSTRACT FROM AUTHOR]

This article details a conversation between Lotte de Jong and Antonia Hernández, two artists who investigate the intimacy of online platforms, discussing Lotte de Jong's artwork. Through an exploration of sex webcam platforms, De Jong's work highlights the spatial dimension of online intimacy, interrogating its various degrees of visibility and questioning how people engage with, imagine, occupy, or resist them. [ABSTRACT FROM AUTHOR]

The basis of rent has progressively shifted from valuing material goods which are subject to classical supply and demand forces to valuing more intangible sources of scarcity that impact the value state of abstract goods or experiences. In order to quantify the value ascribed to this new abstract asset class in this paper, we propose a new type of rent called Art-Rent. In this work, we describe Art-Rent in classical price, cost, and income (PCI) terms and use the subject of determining value of abstract painting as a test case. In order to quantify Art-Rent, we subject the total value calculation of abstract art to three models of PCI assessment. We determined that art is systematically undervalued and propose that Art-Rent can be factored into calculations for any commodity which holds any abstract recurring future value to the consumer. [ABSTRACT FROM AUTHOR]

In the context of bio-deterioration of cultural heritage, the Lavandula angustifolia Mill. plant proves to be of interest for a green approach to the preservation of art manufacts on organic media. Supercritical CO2 fluid extraction (SFE) was utilized to obtain both lavender essential oil (E2LS3) and hydrolate (E2LS3A), while ultrasound assisted maceration in n-hexane:ethanol (99:1, v:v) provided LA2/1 extract. The extracts, all chemically characterized by UHPLC-HRMS and GC–MS analyses, were screened for their antifungal capability towards six fungi isolated from the plywood support of Haim Steinbach's contemporary artwork "Un-color becomes alter ego #2" (1984). To this purpose, disk diffusion method was applied on both mycelium and conidial suspensions to unravel whether the inhibitory activity affects the growth of fungi at different life cycle stages. The micro-atmosphere method was also explored to assess the response of fungal growth in a saturated atmosphere. Data acquired highlighted that SFE-obtained lavender essential oil, whose oxygenated monoterpene part mostly accounting for terpinene-4-ol, borneol, linalool, camphor, and 1,8-cineole, proves to be a dose- and time-dependent inhibitor of fungal growth. It has also been shown that exposure to the oil vapor phase is more effective at very low dose levels. The promising results allow us to hypothesize the use of the essential oil for treating fungal colonization by exposure to its volatile components in a modified atmosphere environment, with no direct contact with the artwork. [ABSTRACT FROM AUTHOR]

We report a rare case of fatal exsanguination by a scythe. A 71-year-old man slipped while jumping over a stream and impaled himself on a 70 cm long curved steel blade of the scythe. The external examination of the body disclosed a stab wound in the left upper part of the trunk. Internally, impaling injuries involving the left thoracic walls, left lung parenchyma, and pulmonary vasculature were disclosed. Toxicology results indicated preceding alcohol use. This paper also traces and consolidates symbolic, artistic, and historical connotations of the scythe and highlights the intersection of art and science that defines the field of forensic pathology. Although exploring the relationship between the arts and pathology is not novel, intriguing links between the arts and forensic practice can broadly enhance observation and analytical skills, and help forensic professionals become more thoughtful and contextual.

This discussion of the literature of unrequited love deals with the elusiveness of love’s object in the world, and asks whether that elusiveness may be intrinsic to the passion. If love is dependent upon the imagination, this implies vulnerability to disappointment or unappeasable longing: but it also makes space for the imagination as creative function or power. The unrequited lover in the texts under discussion is significantly also a writer, a maker of letters or books or poems; the artwork is understood less as a displacement of desire than as a model for its instantiation in the world. Texts discussed include Rousseau, Julie; Sterne, A Sentimental Journey; Goethe, The Sorrows of Young Werther; Mary Robinson, Sappho and Phaon; Mary Hays, Memoirs of Emma Courtney; Percy Shelley, ‘On Love’, Hazlitt, Liber Amoris; and Plato, The Symposium.

Abstract Science and art have been connected for centuries. With the development of new computational methods, new scientific disciplines have emerged, such as computational chemistry, and related fields, such as cheminformatics. Chemoinformatics is grounded on the chemical space concept: a multi-descriptor space in which chemical structures are described. In several practical applications, visual representations of the chemical space of compound datasets are low-dimensional plots helpful in identifying patterns. However, the authors propose that the plots can also be used as artistic expressions. This manuscript introduces an approach to merging art with chemoinformatics through visual and artistic representations of chemical space. As case studies, we portray the chemical space of food chemicals and other compounds to generate visually appealing graphs with twofold benefits: sharing chemical knowledge and developing pieces of art driven by chemoinformatics. The art driven by chemical space visualization will help increase the application of chemistry and art and contribute to general education and dissemination of chemoinformatics and chemistry through artistic expressions. All the code and data sets to reproduce the visual representation of the chemical space presented in the manuscript are freely available at https://github.com/DIFACQUIM/Art-Driven-by-Visual-Representations-of-Chemical-Space- . Scientific contribution: Chemical space as a concept to create digital art and as a tool to train and introduce students to cheminformatics. Graphical Abstract

• Bu araştırma özel yetenekli öğrencilerin sanat eseri kavramına yönelik algı ve düşüncelerini metaforlar yoluyla çözümlemeyi amaçlamaktadır. Bu araştırma, nitel araştırma yöntemlerinden yorumlayıcı (hermenötik) araştırma yaklaşımına göre yapılmıştır. Araştırmanın çalışma grubunda Milli Eğitim’e bağlı Konya BİLSEM (Bilim Sanat Merkezi) öğrencilerinden 242 öğrenci bulunmaktadır. Katılımcılar, amaçlı örneklem yöntemlerinden kolay ulaşılabilir örneklem yöntemine göre seçilmiştir. Öğrenciler Ö1, Ö2…. şeklinde kodlanarak temsil edilmiştir. Bu araştırmada veri toplamak için metafor tekniği kullanılmıştır. Bu doğrultuda veri toplama aracı “sanat eseri…………………gibidir, çünkü …………………….” şeklinde yapılandırılmıştır. Araştırmanın sonucuna göre, öğrenciler sanat eserinin dışavurumcu özelliğini f=41 (%17,8) en çok vurgulamıştır. Bu kategoride görülen “hayat” kelimesi en çok tekrarlanan metafor olmuştur. BİLSEM öğrencilerinin ürettikleri metaforu açıklayıcı cümlelerinden sanat eserini genellikle resim yapmak olarak algıladıkları anlaşılmaktadır. Araştırmada ikinci olarak en çok vurgulanan durum sanat eserinin estetik haz kaynağı olduğudur. Öğrencilere göre sanat eseri, insana kendi iyi hissettiren, eğlendiren ve kalıcı olan niteliktedir. BİLSEM öğrencileri tarafından sanat eserinin özgün olması gereken ve emek isteyen bir nesne olduğu vurgulanmıştır. Elde edilen bu sonuçlara yönelik olarak BİLSEM öğrencilerinin seçilen sanat eseri hakkında örnek eleştiri yazılarının incelenmesi önerisinde bulunulabilir. BİLSEM öğrencilerine sanat eseri kavramının algılanması konusunda örnek ders planları uygulanabilir ve sonuçları karşılaştırılabilir.

Autographs of famous people constitute an interesting, albeit small, branch of the art market. Due to the limited number of works on the subject, the consideration of factors that can affect the price formation of these goods is important. The article analyses the results obtained from the Polish market for the last 7 years. In the study, measures used in finding pairwise correlations were used to identify potential relationships between characteristics. The results indicated relationships between the asking (and final) price and such factors as: the popularity of the person signing the document, the time of the document's creation and the impact of the Covid19 pandemic. The paper also proposed a special popularity ranking of famous people based on the Google Trends tool. In addition to the above-mentioned main factors, a set of other features of the document was analysed to a limited extent, taking into account, among others: the state of preservation, format or content of the document.

The purpose of the article is to analyse the Roma theme in the landscape painting in the works of artists-realists of the second half of the XIXth century. The research highlights the motives, related to the traditions of the Roma, which attracted the realistic direction artists' attention. It is reviewed that the majority of Roma images and their traditional life style of the second half of the 19th century were presented in the painting works with the introduction of the landscape storylines. The research methodology includes the following methods: historical-cultural method and analytical one, a method of the historical-artistic typology and logical-generalizing method. These methods made it possible to follow the development of Romani subjects in the landscape art of the studied period. The scientific novelty of the article is an attempt to fill up the lack of research on the chosen topic and the need to introduce it into the scientific circulation as such, which will make the Roma topic in the context of realistic landscape painting in the world fine art of the XIXth century interesting for the researchers, historians etc. Conclusions. The research consists of the several stages. The first one is the analysis of the historiographical base, which has allowed to emphasize the relevance of studying the dialogue of the landscape and Roma images in the works of realist artists. During the second research stage, the peculiarities of the landscape genre in the realism direction works are characterized. In addition, the canvases of August von Pettenkofen (1854), Kharyton Platonov (1877), David Bates' (1886) and Franciszek Streitt (1885-1886) were singled out from the array of the artistic works and described in the context of the interdependence of the landscape and Roma images and (or) scenes from Roma life. Finally, it is shown that the landscape does not contrast with the Roma theme in these works, moreover it is a tool for its highlighting. Therefore, it is logical to conclude that the landscape line was used by realist artists as a logical component of the romance of nomadism in the XIXth century. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Revista Pós Ciências Sociais (REPOCS) is the property of Revista Pos Ciencias Sociais (REPOCS) 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 Humanities & Tourism Research (JoHUT) is the property of Journal of Humanities & Tourism Research 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.)

According to neuroaesthetic analysts, identifying the systems and brain mechanisms that respond to art is the same as discovering a region for the first time. Technological indicators and mind research reveal in more detail how aesthetic accumulations are integrated with the mind through the senses and how vital points deeply affect awareness or not. Experts can now interpret the results, which offer objective, testable tools for characterizing the formations in the human mind. When it comes to aesthetics, works of art, and beauty, it may be necessary to look at the subject from the perspective of Ottoman art. The Ottomans have produced exemplary works in many fields of art. Because thousands of unique sources from this civilization show how brain systems are affected in terms of neuroaesthetics. The importance of the psychological effects of visual stimuli, such as perception, emotion, semantics, line, balance, movement, depth, contrast, form, color, symmetry, etc., in neuroaesthetics offers a new perspective and an alternative perspective to those who want to work in this field. It is known that Ottoman artists produced internationally valuable products in architecture, painting, tile, calligraphy, illumination, and many other fields. This study mentions some of the unique artistic combinations and varieties of Ottoman art. Therefore, areas that can illuminate neuroaesthetic descriptions with a refined methodology are emphasized in the light of specific examples. In this study, which was endeavored to be carried out within the framework of document research and the scanning method, the developments in neuroaesthetic science, the points where the cognitive dimension of artistic functions has reached, and their consequences on people have been tried to be touched in the context of Ottoman art. [ABSTRACT FROM AUTHOR]

Science and art have been connected for centuries. With the development of new computational methods, new scientific disciplines have emerged, such as computational chemistry, and related fields, such as cheminformatics. Chemoinformatics is grounded on the chemical space concept: a multi-descriptor space in which chemical structures are described. In several practical applications, visual representations of the chemical space of compound datasets are low-dimensional plots helpful in identifying patterns. However, the authors propose that the plots can also be used as artistic expressions. This manuscript introduces an approach to merging art with chemoinformatics through visual and artistic representations of chemical space. As case studies, we portray the chemical space of food chemicals and other compounds to generate visually appealing graphs with twofold benefits: sharing chemical knowledge and developing pieces of art driven by chemoinformatics. The art driven by chemical space visualization will help increase the application of chemistry and art and contribute to general education and dissemination of chemoinformatics and chemistry through artistic expressions. All the code and data sets to reproduce the visual representation of the chemical space presented in the manuscript are freely available at https://github.com/DIFACQUIM/Art-Driven-by-Visual-Representations-of-Chemical-Space-.Scientific contribution: Chemical space as a concept to create digital art and as a tool to train and introduce students to cheminformatics. [ABSTRACT FROM AUTHOR]

Arthur Danto in order to achieve the definition of art, while rejecting previous views and clearly opposing the essentialism of the concept of art, seeks a new explanation in challenging contemporary artworks with a completely different view. By turning away from Kant's point of view, which dominated the theories of art until the middle of the 20th century, he bases his theory under the influence of Hegel and based on the historical context of the process of transfiguration of the ordinary object to an artwork. Based on this, a historical, cultural, and social context is necessary for the objects to acquire the legitimacy of being an artwork. From his point of view, a new narrative of an ordinary thing emerges through the artist's way of looking at the ordinary thing (in the historical context) and the way he presents it, and he transforms it into an embodied concept and meaning, which leads to the transformation into a work of art. The excessive emphasis of his theory on subjectivism causes personal interpretations and relativism. This article follows the question of “what makes a work of art, a work of art?”, by examining and explain Danto's opinions, while pointing to the works of art referred to by him, I try to describe the factors influencing his theory to finally analyze some of the flaws in this perception of the concept of art.

A painted stone reredos in the Priory Church of St Cuthbert, Worksop, Nottinghamshire, UK, was analysed before recent conservation to determine the pigment scheme employed. The screen was created by the eminent British architect Sir George Gilbert Scott in the middle decade of the 19th Century. The results help inform the wider range of palettes employed by British architects and craftspeople working in the 19th and early 20th centuries which have previously been little studied. The pigments generally were high-quality vermilion (red), chrome yellow (yellow), and ultramarine (blue), and several alternatives were also evident such as red lead and haematite for red, bone black, and carbon black for black. Lightening and darkening agents were incorporated as lead white, barytes, and carbon, and pigment mixtures were used to achieve the colours dark blue-red, and green.

Interpreting the geometric structure of artworks enhances our intuitive grasp of their deeper meanings. This study employs a Capsule network model, incorporating a dynamic routing algorithm to correlate high and low-level geometric structural features of artworks. Additionally, an attention mechanism is introduced, forming a spatial attention capsule to capture the spatial context of the artwork’s geometric structure. To obtain images, a fixed-focus camera is utilized, followed by median filtering for image preprocessing and threshold segmentation using the maximum inter-class variance method to optimize recognition accuracy. The efficacy of the geometric structure recognition model, grounded in the Capsule network, is confirmed using a dataset of collected artwork images. The model achieves stability after 380 epochs, exhibiting an impressive accuracy of approximately 99.7% and a minimal loss of 0.025. Removing the attention mechanism results in a 4.06 percentage point decrease in model accuracy, whereas incorporating a dynamic routing algorithm boosts efficiency by 7.36%. Thus, the Capsule model proves highly effective in precisely recognizing and interpreting the geometric structures of artworks.

An updated and operational conception of the notion of symbolic form is less the revival of a single tradition (Cassirer) than the articulation of several genealogies of philosophical and semiotic thought that have focused on the same question from different perspectives. In this sense, the symbolic form invites us to pay attention to the description of a recursivity of semioses that do not remain paratactic or paradigmatic (options for giving meaning), but that implicate each other reciprocally through the re-entry of the semantic impacts of some on the access to meaning provided by others. This re-entry operates on two planes of relevance, one offering a model of exemplification, the other an instrumental model, in order to constitute a circuit of meaning that is both promising and critical. These qualities are due to the continuous exchange between the symbolization of innovative examples and the diagrammatic re-examination of conventional practices. In this contribution, we attempt to show how this conceptualization of symbolic form can make a major contribution to the history of forms and to art theory. This re-analysis is even more crucial when we consider the development of tool-assisted analysis of works of art and augmented reality devices for images that are increasingly used in museum institutions.

Over the course of history, humans have had a deep need to express themselves not only through words but also through images. Furthermore, images and artworks have the potential to serve as a path to God. This article aims to explore the presence of images and artistic expressions in catechesis and their role in education and growth in faith throughout a person's life. In this regard, the article is structured into three sections, also including an introduction and a conclusion. The first section elaborates on the power of imagery in today's world, emphasising the human need to express oneself visually as well as verbally and highlighting the significance of all factors that contribute to the interpretation and understanding of images. The second section discusses catechesis, which serves the purpose of an individual's education and growth in faith, emphasising various methods and ways of teaching in faith. This section also underscores the place and role of images and works of art in the history of the Church and in catechisms. Finally, the third section highlights the importance of aesthetic and artistic formation among all participants in catechesis, whereby the images and artworks are used to facilitate a better understanding and experience of the faith and its content in all its beauty. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Ahmet Kelesoglu Educational Faculty is the property of Journal of Ahmet Kelesoglu Educational Faculty 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.)