Abstract:“Feminist Graphic Art” reviews recent feminist scholarly work on comics alongside several new feminist comics titles themselves, suggesting through a focus on theory and practice that the medium of comics is an expanding realm of possibility for feminist expression, particularly around issues of subjectivity, embodiment, and collectivity.

In recent decades, the internet has become our predominant public space and yet the role of art in this space remains largely unthought. This paper argues that graphic art, and in particular digital graphic art, has great power to shape and transform our thinking and experience. But with that power comes an enormous political and ethical responsibility, a responsibility too often ignored by programmers and computer scientists. This paper uses the work of Denis Schmidt and Jacques Taminiaux as (...) important resources for developing a Heideggerian response to this lack. (shrink)

This essay explores the narrative potency of the many silences and gaps, the holes and empty spaces, that shape Carson’s H of H Playbook. It argues that the “comic” styling of this tragedy – that is, its formatting as a comic or a graphic novel analogous to that of Carson’s Euripides’ Trojan Women – engages reader, text, and image in a highly collaborative dynamic of narrative co-production.

In a global economic landscape of hyper-commodification and financialisation, efforts to assimilate digital art into the high-stakes commercial art market have so far been rather unsuccessful, presumably because digital artworks cannot easily assume the status of precious object worthy of collection. This essay explores the use of blockchain technologies in attempts to create proprietary digital art markets in which uncommodifiable digital artworks are financialised as artificially scarce commodities. Using the decentralisation techniques and distributed database protocols underlying current cryptocurrency technologies, such (...) efforts, exemplified here by the platform Monegraph, tend to be presented as concerns with the interest of digital artists and with shifting ontologies of the contemporary work of art. I challenge this characterisation, and argue, in a discussion that combines aesthetic theory, legal and philosophical theories of intellectual property, rhetorical analysis and research in the political economy of new media, that the formation of proprietary digital art markets by emerging commercial platforms such as Monegraph constitutes a worrisome amplification of long-established, on-going efforts to fence in creative expression as private property. As I argue, the combination of blockchain-based protocols with established ambitions of intellectual property policy yields hybrid conceptual-computational financial technologies (such as self-enforcing smart contracts attached to digital artefacts) that are unlikely to empower artists but which serve to financialise digital creative practices as a whole, curtailing the critical potential of the digital as an inherently dynamic and potentially uncommodifiable mode of production and artistic expression. (shrink)

Lochlann Jain's debut non-fiction graphic novel, Things That Art, playfully interrogates the order of things. Toying with the relationship between words and images, Jain's whimsical compositions may seem straightforward. Upon closer inspection, however, the drawings reveal profound and startling paradoxes at the heart of how we make sense of the world. Commentaries by architect and theorist Maria McVarish, poet and naturalist Elizabeth Bradfield, musician and English Professor Drew Daniel, and the author offer further insight into the drawings in this (...) collection. A captivating look at the fundamental absurdities of everyday communication, Things that Art jolts us toward new forms of collation and collaboration. (shrink)

Fractal art graphics are the product of the fusion of mathematics and art, relying on the computing power of a computer to iteratively calculate mathematical formulas and present the results in a graphical rendering. The selection of the initial value of the first iteration has a greater impact on the final calculation result. If the initial value of the iteration is not selected properly, the iteration will not converge or will converge to the wrong result, which will affect the accuracy (...) of the fractal art graphic design. Aiming at this problem, this paper proposes an improved optimization method for selecting the initial value of the Gauss-Newton iteration method. Through the area division method of the system composed of the sensor array, the effective initial value of iterative calculation is selected in the corresponding area for subsequent iterative calculation. Using the special skeleton structure of Newton’s iterative graphics, such as infinitely finely inlaid chain-like, scattered-point-like composition, combined with the use of graphic secondary design methods, we conduct fractal art graphics design research with special texture effects. On this basis, the Newton iterative graphics are processed by dithering and MATLAB-based mathematical morphology to obtain graphics and then processed with the help of weaving CAD to directly form fractal art graphics with special texture effects. Design experiments with the help of electronic Jacquard machines proved that it is feasible to transform special texture effects based on Newton's iterative graphic design into Jacquard fractal art graphics. (shrink)

The article examines the place of graphic design in modern post-industrial society, extending beyond purely applied art and aspiring to play the role of an expert in the interiors of human existence, determining the social and cultural status of an individual. It is argued that graphic design, organically integrating into contexts and actively responding to the challenges of such a social-decorative phenomenon as fashion, plays a significant role in shaping taste culture. This attests to the multiplicity of ambivalent (...) cultural manifestations of graphic design. Special attention is given to identifying the functional potential of graphic design in creating cross-cutting trends that, through non-verbal means of communication, can form and maintain social and cultural unity. In connection with this, an analysis of graphic design is carried out through the prism of philosophical communication, allowing the identification of graphic design as the most effective practice of nonverbal communication and information visualization in post-industrial society. It is determined that graphic design is capable not only of generating new meanings but also of creating communicative gaps. Given this specificity, the article particularly focuses on identifying the educational and upbringing potential of graphic design. It is demonstrated that the process of creating visual images and their subsequent interpretation by consumers of graphic information depends not only on the aesthetic taste, ethical beliefs, and humanistic orientation of the designer (visualizer) but also on their educational and upbringing potential. The necessity of strengthening humanistic orientations in modern Ukrainian design and art education is emphasized. (shrink)

The purpose of the study is to identify the needs of bachelor students of various areas in the field of fine arts in the skills of mastering computer graphics and using its various types in professional activities. The Federal State Educational Standard in the areas of education, general and professional competencies associated with the possession of computer graphics, methods and techniques of work necessary for organizing a holistic process in this discipline are analyzed.

Medthics is an online graphic novel series comprising of six issues . What is often viewed as pop culture escapism, this "comic book" series tackles the complex world of medicine and its moral/ethical intricacies. From topics about physician identity formation to humane patient care, Medthics brings to the forefront subject matter essential to clinical practice. The art of medicine is depicted through stylized characters as they live their lives through a fictional world inspired by true events.

Transformation of the sparrow and the butterfly -- Meeting the gods of poverty in a dream -- The greatest joys of the cicada and its cast-off shell -- The owl's understanding -- The centipede questions the snake -- The toad's way of the gods -- The mysterious technique of the cat -- Afterword by William Scott Wilson.

This article examines cave art in France, arguing that the images created at many sites, but particularly Chauvet, can be analysed in terms of animation, storytelling, lighting and sound. Through superimposition and juxtaposition, and using the contours of the rock face, Palaeolithic artists invented a form of narration based on images, often then animated by the flickering light of lamps and torches. Drawing on semiological work by Philippe Sohet and his terms ‘narrative image’ and ‘iconic narration’, the article sees panels (...) of cave art as constituting scenes and actions that can be discussed in relation to both bande dessinée and cinema. Finally, evidence suggests that the spectacles produced in these spaces, whatever their elusive meaning, also depended on sound and acoustics. (shrink)

Revolutionary experiments require building revolutionary relationships. This praxis of material and social creativity to reorganise power dynamics and weave connections across weaponised divides, are evident in the content, the form and the backstory woven into Janet Biehl's Their Blood Got Mixed: Revolutionary Rojava and the War on ISIS. Written and illustrated by Janet Biehl, it is a graphic memoir that can be read as both an historical narrative and a blueprint of a contemporary revolutionary experiment that combines political theory (...) and graphic art to tell the story of how ISIS has been driven back in Northern Syria by people fighting for a society based on principles of direct democracy, political secularism, gender equality, and ecological sustainability. Whereas in the past, after the liberation of Rojava in 2012, Biehl spent time interviewing leadership, this book relays her interviews with women across the region and across the various projects of reorganising and defending social, political, cultural and economic life in 2019 after four years of warfare against ISIS and the Turkish state. Reflecting on the relationships that make revolutionary history, and that produce artistic histories of revolutionary experiments, this review article considers the history in this book and of this book, in conversation with recently published graphic non-fiction, and draws on engaged scholarship concerned with the politics of collective knowledge production in and for movements of solidarity urgently needed in the face of the imploding crisis of colonial borders. (shrink)

_Using Art Media in Psychotherapy_ makes a thoughtful and contextual argument for using graphic art materials in psychotherapy, providing historical context for art materials and their uses and incorporating them with contemporary practices and theories. Written with an analytic focus, many of the psychological references nod to Jung and post-Jungian thought with keen attention to image and to symbolic function. This book jettisons the idea of reductionist, cookbook approaches and instead provides an integrated and contextual understanding of the origins (...) of each art form as well as an insightful use for each in its application in mental health healing practices. _Using Art Media in Psychotherapy _gives clinicians and students alike the tools they need to offer psychologically minded and clinically astute choices that honor their clients. (shrink)

Focusing on the ideological connotations and artistic techniques of the graphic novel The Wandering Earth, this paper discusses its adaptation from the literary work, and reveals its thoughts on the ecological problems and the sustainable development in the Anthropocene. Images in this graphic novel do not simply reproduce the externally visible objects, but let the invisible be seen by presenting a certain way for the viewer to observe the earth. This novel organically combines science fiction and the art (...) of graphic storytelling, which is worthy of in-depth discussion from the interdisciplinary perspective. (shrink)

Arts, Ecologies, Transitions provides in depth insights into how aesthetic relations and current artistic practices are fundamentally ecological and intrinsically connected to the world. As art is created in a given historic temporality, it presents specific modalities of productive and sensory relations to the world. With contributions from more than 45 researchers, this book tracks evolutions in the arts that demonstrate an awareness of the environmental, economic, social, and political crises. It proposes interdisciplinary approaches to art that clarify (...) the multiple relationships between art and ecology through an exploration of key concepts such as collapsonauts, degrowth, place, recycling, and walking art. All the artistic fields are addressed from visual arts, theatre, dance, music and sound art, cinema, photography, including those that are rarely represented in research such as digital creation or graphic design, to showcase the diversity of artistic practices in transition. Through original research this book presents ideas in an accessible format. It book will be of interest to students and researchers in the fields of environmental studies, ecology, geography, cultural studies, architecture, performance studies, visual arts, cinema, music and literature studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Erotic Art and Pornographic PicturesJerrold LevinsonOnly in primitive art, with its urgent need to evoke the sources of fertility, are the phallus and the vulva emphasized, as it were innocently. By ancient Greek and Roman times there already existed the special category of the pornographic—graphic art or writing supposed, like a harlot, or porne, to sexually stimulate.1IAS REGARDS PHILOSOPHICAL ANALYSIS of the opposition between the erotic and the (...) pornographic, there are a number of reasonable goals one might have: to preserve as many considered intuitions about the opposition as possible; to present the opposition in a clearer light than it enjoys when casually invoked; to modestly "sharpen" the standard opposition that either accounts for our experience in this domain more fully, or allows us to organize our thinking about the domain more perspicuously. I hope in this paper to make progress toward some of those goals. Though the scope of the erotic/pornographic opposition goes beyond the visual, my focus here will be the opposition as it exists in the visual sphere, and even more narrowly, in the sphere of images. In addition to preserving and clarifying a distinction between erotic art and pornography, I hope also to make an intelligible place for erotica, as something intermediate between the other two.Here, then, are some intuitions on the erotic and the pornographic: [End Page 228]1. the erotic and the pornographic are both concerned with sexual stimulation or arousal.2. while the term "erotic" is neutral or even approving, the term "pornographic" is pejorative or disapproving.3. while "erotic art" is a familiar, if somewhat problematic, notion, "pornographic art" seems an almost oxymoronic one.4. whereas pornography has a paramount aim, namely, the sexual satisfaction of the viewer, erotic art, even if it also aims at sexual satisfaction on some level, includes other aims of significance.5. whereas we appreciate (or relish) erotic art, we consume (or use) pornography. In other words, our interactions with erotic art and pornography are fundamentally different in character, as reflected in the verbs most appropriate to the respective engagements.In what follows I try to accommodate all of those intuitions. As I will need a distinction invoked in the first of them (between sexual stimulation and sexual arousal) let me spell that out before proceeding. By sexual stimulation I will mean the inducing of sexual thoughts, feelings, imaginings, or desires that would generally be regarded as pleasant in themselves. By sexual arousal I mean the physiological state that is prelude and prerequisite to sexual release, involving in the male, at least, some degree of erection. And by sexual release I mean something that I take it needs no spelling out.How to differentiate erotic art from pornography, and from erotica as well, is of course not the only important philosophical question about erotic art. Here are two others: 1) How is the erotic aspect of erotic art compatible with the disinterested or distanced frame of mind that seems required for aesthetic engagement with or appreciation of a work of visual art? 2) How is the degree of eroticness of a work of erotic art related to its artistic value? I will briefly address those two questions toward the end of the paper, but most of my effort will be devoted to the prior question, that of the differentiation of erotic art, erotica, and pornography.IIHow, then, to effect that differentiation in the domain of visual images to which I have restricted my inquiry? One possibility would [End Page 229] concern the specific kind of response aimed at. Thus, erotic art might be said to involve images intended to sexually stimulate, but also to reward artistic interest; erotica to involve images intended to sexually stimulate but not to reward artistic interest; pornography to involve images intended to sexually arouse in the interests of sexual release. Another possibility would be by the character of the sexual representation involved, so that pornography would involve sexually explicit images, erotic art would involve sexually inexplicit images, and erotica images would be intermediate in their explicitness, irrespective of the ends for which the images were fashioned. A third possibility would be by... (shrink)

This essay studies Edie Fake’s award-winning graphic novel Gaylord Phoenix from the perspective of Queer Theory and Transgender Studies. Nikki Sullivan’s use of the term transmogrification from her work on somatechnics provides a critical lens through which to examine Fake’s exploration of the transgender body in his narrative. Fake includes multiple images of bodies undergoing radical transformations through a combination of magic and surgery, blurring the distinction between modern science and the occult. The essay also explores Fake’s status as (...) an innovator in the world of comic books and graphic novels as he creates an idiosyncratic verbal and visual vocabulary largely unprecedented in the world of sequential art. (shrink)

Em um artigo intimamente relacionado a este, mostramos que o estudo mais maduro de Peirce sobre a retórica especulativa, em Ideas, Stray or Stolen, about Scientific Writing, nos convida a refletir e apreender o fenômeno da retórica em sua totalidade. Seguindo pistas aristotélicas, Peirce – implicitamente – diferencia três aspectos categoriais da ação retórica, diferenciando entre sua potencialidade [δύναμις] e perfeição [ἐντελέχεια] como uma faculdade instintiva de tornar signos eficazes em uma utópica arte universal, sua atualidade como um discurso prático (...) normativo historicamente eficaz e que molda a prática retórica [τέχνη], referida como retórica comum; e sua formalidade, articulada pela investigação puramente teórica [θεωρία] das condições necessárias da eficiência dos signos em geral, intitulada Retórica Especulativa. Assim como nosso modo de ser com os outros em um mundo comum de compartilhamento de propósitos, a retórica, tanto para Aristóteles quanto para Peirce, constitui uma forma semiótica do summum bonum, cujo cultivo é essencial para o crescimento da razoabilidade concreta em qualquer comunidade política e na civilização como um todo. No presente artigo, começamos reconstruindo o relato da retórica de Peirce, no quadro de sua classificação das ciências práticas, e depois mostramos como esse relato da retórica como uma faculdade enraizada no “Instinto Gráfico” confirma a análise que apresentamos no trabalho anterior. Na seção final, tentaremos esboçar em que sentido a importância de conceber a retórica como uma δύναμις com uma ἐντελέχεια específica, ou “potencialidade-ideia” do aperfeiçoamento do desenvolvimento, pode nos ajudar a apreciar o papel histórico emancipatório que Peirce atribui às Ciências Normativas. (shrink)

In recent years, many school librarians have been scrambling to build and expand their graphic novel collections to meet the large and growing demand for these materials. For the purposes of this study, the term graphic novels refers to volumes in which the content is provided through sequential art, including fiction, nonfiction, and biographical material. As the library field has not yet arrived at a set of best practices or guidelines for institutions working to classify and catalog (...) class='Hi'>graphic novels, this study seeks to record the ways in which school librarians are handling these materials as well as issues and questions at the forefront of their minds. A survey of school librarians in the United States revealed that almost all of them collect fiction and nonfiction graphic novels, while 67% collect manga. Most respondents indicated that they are partly or solely responsible for the cataloging and classification decisions made in their media centers. For classification purposes, most have elected to create separate graphic novel collections to house their fictional graphic novels. Some include nonfiction graphic novels in this section, while others create a nonfiction graphic novel collection nearby or shelve nonfiction graphic novels with other items that deal with similar subject matter. Many school librarians express uncertainty about how best to catalog and classify longer series, adapted classics, superhero stories, and the increasing number and variety of inventive titles that defy categorization. They also struggle with inconsistent vendor records and past practices and suffer from a lack of full confidence in their knowledge of how to best classify and catalog graphic novels so that they are both searchable in the library catalog and easily accessible on the shelves. (shrink)

This response takes advantage of the diverse and wide-ranging series of commentaries to clarify some aspects of the target article, and flesh out other aspects. My central point is a plea to take graphic codes seriously as codes, rather than as a kind of visual art or as a byproduct of spoken language; only in this way can the puzzle of ideography be identified and solved. In this perspective, I argue that graphic codes do not derive their expressive (...) power from iconicity alone (unlike visual arts), and I clarify the peculiar relationship that ties writing to spoken language. I then discuss three possible solutions to the puzzle of ideography. I argue that a learning account still cannot explain why ideographies fail to evolve, even if we emancipate the learning account from the version that Liberman put forward; I develop my preferred solution, the “standardization account,” and contrast it with a third solution suggested by some commentaries, which says that ideographies do not evolve because they would make communication too costly. I consider, by way of conclusion, the consequences of these views for the future evolution of ideography. (shrink)

Suffrage graphics constitute one of the first collective, ideological, artistic expressions by American women. Premised on the popular view of woman's nature as virtuous, responsible, and nurturant, this art nonetheless challenged traditional practices and demanded political change. Interrelationships between feminism, art, and the historical context are explored in this analysis of women's imagery.

The stories we tell in our attempt to make sense of the world, our myths and religion, literature and philosophy, science and art, are the comforting vehicles we use to transmit ideas of order. But beneath the quest for order lies the uneasy dread of fundamental disorder. True chaos is hard to imagine and even harder to represent, especially without some recourse to the familiar coherency of order. In this book, Martin Meisel considers the long effort to conjure, depict, and (...) rationalize extreme disorder, with all the passions, excitements, and compromises the act has provoked. In seven chapters--"Shaping Chaos," "Nothing and Something," "Number," "Carnival," "War," "Energy," and "Entropy"--Meisel builds a rough history from major social, psychological, and cosmological turning points in the imagining of chaos. He uses examples from literature, philosophy, painting, graphic art, science, linguistics, music, and film, particularly exploring the remarkable shift in the eighteenth and nineteenth centuries from conceiving of chaos as disruptive to celebrating its liberating and energizing potential. Discussions of Sophocles, Plato, Lucretius, Calderon, Milton, Haydn, Blake, Faraday, Chekhov, Faulkner, Wells, and Beckett, among others, are matched with incisive readings of art by Brueghel, Rubens, Goya, Turner, Dix, Dada and the futurists. Meisel addresses the revolution in mapping energy and entropy and the manifold impact of thermodynamics. Known for his pathbreaking studies of literature, drama, and the visual arts, Meisel uses this chaotic frame to elaborate on larger concerns of purpose, mortality, meaning, and mind. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:104 Feminist Studies 44, no. 1. © 2018 by Feminist Studies, Inc. Estelle Carol The Chicago Women’s Graphics Collective: A Memoir In 1973, the Chicago Women’s Graphics Collective worked in an old run-down second-floor office on Belmont Avenue, which we shared with the main offices of the Chicago Women’s Liberation Union (CWLU).1 They call it New Town now, but in 1973, there wasn’t much new about it. We weren’t (...) the only artists in the building though; downstairs was a tattoo parlor. Still, it was better than having the studio located in my apartment on Newport Street, where there were silkscreen tables in the dining room and a bathroom that doubled as a darkroom. My bedroom door opened directly into the dining room and usually reeked of the foul chemicals we used to make the posters. Just one OSHA inspection would have shut us down forever, but it was not until later that we learned about the dangers of long-term exposure. On Newport Street, the apartment was right next to the Ravenswood Branch of the “L,” and it shook like the aftershock of a California earthquake each time a train passed. But we were in the midst of a women’s revolution, and our priorities were clear. 1. The Chicago Women’s Graphics Collective (WGC) was a “workgroup” of the CWLU from the very start. There were about 25 workgroups and other groups within the CWLU. CWLU outreach to recruit new members got a lot of new women into WGC. WGC, Women’s Liberation Rock Band, and Womankind Newspaper were the cultural arms of the CWLU. Cultural outreach to attract new CWLU members and new feminists to the movement in general was critical to the CWLU’s success. In Celebration of Amazons, 194. All posters designed and silkscreened collectively by the Chicago Women’s Liberation Union, www.cwluherstory.org. Courtesy of CWLU Herstory Project. All posters are on silkscreen. Turning Through Time, Workwoven, 195. Sisterhood Is Blooming, Springtime Will Never Be the Same, 190. Chicago Women’s Labor History, 194. International Women’s Day (reprinted from a Cuban poster). ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. OPPOSITE Chicago Maternity Center, 192. ABOVE Lesbian Pride, 192. Mountain-Moving Day, 192. ABOVE Detail from Mountain-Moving Day, 192. OPPOSITE Women Unite, Take Back the Night, 199. Lipstick and Blood (reprinted from a Cuban design). Women Are Not Chicks, 191. Liberation School for Women, 192. Boycott Red Coach Lettuce, 192. Working Women Unite, 195. International Women’s Day, Many Waves But One Ocean, 192. Estelle Carol 121 If you look at Chicago Women’s Graphics Collective posters, you’ll rarely see a person’s name on them, because we decided early on that art had been done all wrong by men. It was based on egotism and the cult of the individual—the great-men-of-art syndrome. So we decided to throw all that out, and art now had to be a collective experience. So every poster that we created had to be done by committee. Every one. We had a system in which any one of the collective could get an idea or a phrase or an image and decide to do a poster. They would ask two or three other members to be their assistants and to help develop the idea. And then in little teams they would physically create the poster in silk screen. It had to be a collective process. There’s no way that one single woman could really do it because we were using very primitive reproduction methods, and we needed at least three people to run the silk screen. The silk screens were all hand printed. No machines. If a poster was more than one color, it had to be hand printed, one color at a time, so it was very, very labor intensive. And... (shrink)

Graphic medicine, an interdisciplinary field situated at the crossroads of comics and healthcare, operates as a medium through which the intricate nature of experiences with illness can be articulated, challenging orthodox medical dogmatism in an engaging and accessible way. Combining the affordances of comics and the narrative power of storytelling, graphic medicine elucidates the socio-cultural stigmatization of dementia influenced by a multitude of discourses. Diverging from existing discourses that depict individuals with Alzheimer’s disease (AD) as zombies, brain-dead, or (...) empty shells, graphic memoirs reconstruct these reductive notions and represent them as imaginative, productive, and perceptive. Taking these cues, the present paper close reads some sections of Dana Walrath’s (2016) Aliceheimer’s: Alzheimer’s Through the Looking Glass in order to demonstrate how graphic medicine reconceptualizes the preeminent hallucinatory experiences of her AD-afflicted mother, Alice, as visions. Walrath deploys collage art to epitomize Alice’s ordeal with AD. In particular, Walrath deploys thought-provoking fragments from Lewis Caroll’s Alice in Wonderland, strategically to proximate Alice’s experiences with AD and tackle the problem of dementia and sociality. Additionally, the paper explores how the text fosters interdependence, respect, and trust to recognize and restore Alice’s personhood. The paper concludes by discussing how Aliceheimer’s operates as an alternative paradigm beyond the confines of biomedical and cultural models of dementia through the use of lexical puissance. (shrink)

This article explores the rise of comics-based research (CBR) as an innovative method for disseminating and translating academic findings to broader audiences. Rooted in the established use of comics in technical communication, CBR takes the unique strengths of graphic media—accessibility, multimodal engagement, and visual storytelling—to communicate complex concepts to diverse audiences, particularly in health-related disciplines. A recent development in this field is the comic research abstract, a concise, visually enriched alternative to traditional textual abstracts. By integrating clarity, brevity, and (...) expressive visuals, this format enhances research accessibility and promotes interdisciplinary collaboration. Drawing on an example from the author’s work on intergenerational storytelling, this article introduces the comic research abstract as a transformative interdisciplinary tool that bridges the arts, humanities, and health sciences. It highlights how this format translates research into advocacy-driven narratives, fostering inclusion, activism, and public engagement. By combining written and visual content, the comic research abstract underscores the potential of comics for advancing health humanities, arts-based academic communication, and inclusive scholarship. (shrink)

The paper problematizes the work and evolution of a Bulgarian artist from the point of view of the biographical approach, his artistic interventions and his re-legitimization as a contemporary artist. It discusses various aspects of contemporary art from the point of view of the artist, his interventions, market demands, the underlying contradictions, as well as the transformative tendencies in the small graphics. The paper argues that it is necessary to expand the understanding of contemporary art with certain actions of artists.

THE ART OF CAUSAL CONJECTURE Glenn Shafer Table of Contents Chapter 1. Introduction........................................................................................ ...........1 1.1. Probability Trees..........................................................................................3 1.2. Many Observers, Many Stances, Many Natures..........................................8 1.3. Causal Relations as Relations in Nature’s Tree...........................................9 1.4. Evidence............................................................................................ ...........13 1.5. Measuring the Average Effect of a Cause....................................................17 1.6. Causal Diagrams..........................................................................................20 1.7. Humean Events............................................................................................23 1.8. Three Levels of Causal Language................................................................27 1.9. An Outline of the Book................................................................................27 Chapter 2. Event Trees............................................................................................... .....31 2.1. Situations and Events...................................................................................32 2.2. The Ordering of Situations and Moivrean Events.......................................35 2.3. Cuts................................................................................................ ..............39 2.4. Humean Events............................................................................................43 2.5. (...) Moivrean Variables......................................................................................49 2.6. Humean Variables........................................................................................53 2.7. Event Trees for Stochastic Processes...........................................................54 2.8. Timing in Event Trees.................................................................................56 2.9. Intersecting Event Trees...............................................................................60 2.10. Notes on the Literature...............................................................................61 Chapter 3. Probability Trees...........................................................................................63 3.1. Some Types of Probability Trees.................................................................64 ii 3.2. Axioms for the Probabilities of Moivrean Events.......................................68 3.3. Zero Probabilities....................................................................................... ..70 3.4. A Sample-Space Analysis of the Event-Tree Axioms.................................72 3.5. Probabilities and Expected Values for Variables.........................................74 3.6. Martingales......................................................................................... .........79 3.7. The Expectation of a Variable in a Cut........................................................83 3.8. Conditional Expected Value and Conditional Expectation.........................87 Chapter 4. The Meaning of Probability...........................................................................91 4.1. The Interpretation of Expected Value..........................................................92 4.2. The Interpretation of Expectation................................................................95 4.3. The Long Run..............................................................................................98 4.4. Changes in Belief.........................................................................................101 4.5. The Empirical Validation of Probability......................................................106 4.6. The Diversity of Uses of Probability...........................................................108 4.7. Notes on the Literature.................................................................................110 Chapter 5. Independent Events.......................................................................................113 5.1. Independence........................................................................................ .......114 5.2. Weak Independence.....................................................................................118 5.3. The Principle of the Common Cause...........................................................121 5.4. Conditional Independence............................................................................128 5.5. Notes on the Literature.................................................................................133 Chapter 6. Events Tracking Events.................................................................................135 6.1. Tracking............................................................................................ ...........137 6.2. Tracking and Conditional Independence.....................................................142 6.3. Stochastic Subsequence...............................................................................143 6.4. Singular Diagrams for Stochastic Subsequence...........................................147 6.5. Conjunctive and Interactive Forks...............................................................149 Chapter 7. Events as Signs of Events..............................................................................153 iii 7.1. Sign................................................................................................ ..............154 7.2. Weak Sign................................................................................................ ....159 7.3. The Ethics of Causal Talk............................................................................160 7.4. Screening Off...............................................................................................16 2 Chapter 8. Independent Variables...................................................................................167 8.1. Unconditional Independence........................................................................170 8.2. Conditional Independence............................................................................175 8.3. Independence for Partitions.........................................................................177 8.4. Independence for Families of Variables......................................................182 8.5. Individual Properties of the Independence Relations...................................186 Chapter 9. Variables Tracking Variables........................................................................189 9.1. Tracking and Conditional Independence: A Summary...............................190 9.2. Strong Tracking............................................................................................ 192 9.3. Strong Tracking and Conditional Independence..........................................198 9.4. Stochastic Subsequence...............................................................................201 9.5. Functional Dependence................................................................................203 9.6. Tracking in Mean.........................................................................................204 9.7. Linear Tracking............................................................................................ 207 9.8. Tracking by Partitions..................................................................................210 9.9. Tracking by Families of Variables...............................................................212 Chapter 10. Variables as Signs of Variables...................................................................215 10.1. Sign................................................................................................ ............219 10.2. Linear Sign................................................................................................ .222 10.3. Scored Sign................................................................................................ 225 10.4. Families of Variables.................................................................................227 Chapter 11. AnTheory of Event Trees.............................................................229 11.1. Event Trees as Sets of Sets........................................................................230 11.2. Event Trees as Partially Ordered Sets........................................................232 iv 11.3. Regular Event Trees...................................................................................240 11.4. The Resolution of Moivrean Variables......................................................244 11.5. Humean Events and Variables...................................................................246 Chapter 12. Martingale Trees..........................................................................................247 12.1. Examples of Decision Trees......................................................................249 12.2. The Meaning of Probability in a Decision Tree.........................................253 12.3. Martingales......................................................................................... .......257 12.4. The Structure of Martingale Trees.............................................................261 12.5. Probability and Causality...........................................................................265 12.6. Lower and Upper Probability.....................................................................269 12.7. The Law of Large Numbers.......................................................................272 12.8. Notes on the Literature...............................................................................274 Chapter 13. Refining............................................................................................ ...........275 13.1. Examples of Refinement............................................................................277 13.2. A Constructive Definition of Finite Refinement.......................................281 13.3. Axioms for Refinement..............................................................................282 13.4. Lifting Moivrean Events and Variables.....................................................288 13.5. Refining Martingale Trees.........................................................................288 13.6. Grounding........................................................................................... .......294 Chapter 14. Principles of Causal Conjecture..................................................................299 14.1. The Diversity of Causal Explanation.........................................................302 14.2. The Mean Effect of the Happening of a Moivrean Event..........................305 14.3. The Effect of a Humean Variable..............................................................311 14.4. Attribution and Generality.........................................................................316 14.5. The Statistical Measurement of the Effect of a Cause...............................319 14.6. Measurement by Experiment.....................................................................320 14.7. Using Our Knowledge of How Things Work............................................322 v 14.8. Sampling Error...........................................................................................329 14.9. The Sampling Frame..................................................................................329 14.10. Notes on the Literature.............................................................................330 Chapter 15. Causal Models.............................................................................................3 31 15.1. The Causal Interpretation of Statistical Prediction....................................333 15.2. Generalizing to a Family of Exogenous Variables....................................337 15.3 Some Joint Causal Diagrams......................................................................339 15.4. Causal Path Diagrams................................................................................342 15.5. Causal Relevance Diagrams.......................................................................346 15.6. The Meaning of Latent Variables..............................................................352 15.7. Notes on the Literature...............................................................................357 Chapter 16. Representing Probability Trees...................................................................359 16.1. Three Graphical Representations...............................................................361 16.2. Skeletal Simplifications.............................................................................368 16.3. Martingale Trees in Type Theory...............................................................371 Appendix A. Huygens’s Probability Trees.....................................................................379 Huygens’s Manuscript in Translation..................................................................380 Appendix B. Some Elements of Graph Theory..............................................................385 B1. Undirected Graphs........................................................................................385 B2. Directed Graphs............................................................................................38 6 Appendix C. Some Elements of Order Theory...............................................................393 C1. Partial and Quasi Orderings.........................................................................393 C2. Singular and Joint Diagrams for Binary Relations.......................................394 C3. Lattices............................................................................................ .............395 C4. The Lattice of Partitions of a Set..................................................................396 Appendix D. The Sample-Space Framework for Probability.........................................399 D1. Probability Measures....................................................................................399 D2. Variables........................................................................................... ...........400 vi D3. Families of Variables...................................................................................401 D4. Expected Value............................................................................................402 D5. The Law of Large Numbers.........................................................................405 D6. Conditional Probability................................................................................406 D7. Conditional Expected Value........................................................................407 Appendix E. Prediction in Probability Spaces................................................................409 E1. Conditional Distribution...............................................................................411 E2. Regression on a Single Variable...................................................................412 E3. Regression on a Partition or a Family of Variables......................................415 E4. Linear Regression on a Single Variable.......................................................418 E5. Linear Regression on a Family of Variables................................................422 Appendix F. Sample-Space Concepts of Independence.................................................425 F1. Overview............................................................................................ ...........426 F2. Independence Proper.....................................................................................432 F3. Unpredictability in Mean..............................................................................434 F4. Simple Uncorrelatedness..............................................................................437 F5. Mixed Uncorrelatedness...............................................................................438 F6. Partial Uncorrelatedness...............................................................................440 F7. Independence for Partitions..........................................................................442 F8. Independence for Families of Variables.......................................................445 F9. The Basic Role of Uncorrelatedness.............................................................448 F10. Dawid’s Axioms.........................................................................................449 Appendix G. Prediction Diagrams..................................................................................453 G1. Path Diagrams............................................................................................ ..454 G2. Generalized Path Diagrams..........................................................................462 G3. Relevance Diagrams.....................................................................................466 G4. Bubbled Relevance Diagrams......................................................................475 Appendix H. Abstract Stochastic Processes...................................................................479 vii H1. Probability Conditionals and Probability Distributions...............................477 H2. Abstract Stochastic Processes......................................................................479 H3. Embedding Variables and Processes in a Sample Space.............................480 References.......................................................................................... ..............................491. (shrink)

In the creation of maps, scientific knowledge related to mathematics and physics combines with knowledge specific to graphic or artistic disciplines. Since all maps are artifacts whose aesthetic qualities convey information that simultaneously engages the fields of ontology, epistemology, and politics, they are objects of undeniable interest for philosophical inquiry. Following what has been termed “the cartographic turn in social sciences”, The Art of Mapping Between Land and Mind delves into two intertwining issues. On one side, it examines how (...) the aesthetic properties of maps convey cognitive, cultural, and political meanings. On the other, it explores the role of visual arts in reflecting on cartographic thought, shaping both its methods and motivations. The volume is divided into four sections. Embracing the point of view of both the philosopher and the geographer, the first one sheds light on the relationship between epistemology and cartography (Kukla; Costantini; Tanney). The second addresses mapmaking as an art form (Tanca; Haugdal) or, conversely, considers maps from the perspective of their aesthetic properties (Török; Ogundiwin; Elhaik). The third focuses on the digital condition of today’s cartography (Tschochohei; Quaranta; Keller). Finally, the last section includes two contributions that represent attempts to guide cartography toward its future (Bosca; Ianniello). Opening this issue, a special essay by Elizabeth Povinelli offers a generous précis of her upcoming book. (shrink)

Rogery Fry in Last Lectures threw out the suggestion that the inferiority of neolithic to palaeolithic painting might be due to the birth or growth of language and the consequent temptation to dull the vivid sensibility for individual life by the practically useful habit of abstract or generalized thinking. Whether or no the birth and growth of language involved a set-back for graphic and plastic art, it certainly first made poetry possible. And the question which puzzles me is this: (...) Would any art analogous to poetry have been possible without speech? What if a tongue-tied race had invented a system of ideograms or purely conventional gestures? (shrink)

Perhaps no meteorological phenomenon has enjoyed more interest than the wind. Both mutable and ambiguous, it has been interpreted in many ways over the centuries. This is particularly evident in the graphic arts, which have employed different strategies of representation. Taking the neo-phenomenological interpretation of the wind as a _‘_quasi-thing_’_, this paper explores the most common ways of representing this particular phenomenon within the European iconographic tradition, with the aim of identifying those that can best depict it in (...) its quasi-thingly nature. More specifically, this work aims to show that – under certain conditions – painting is not only able to express the particular meteorological and affective nature of the wind, but can also be a useful tool for shedding light on the so-called theory of atmospheres, which are themselves grounded in the thesis of the spatiality of feelings. With the help of a few examples from modern and contemporary painting, in which the wind finds its place as an aesthetic phenomenon, this paper outlines the possible characteristics of an atmospheric art in which the phenomenon is represented in all its affective power. Such art discloses or emphasizes the affective influence that phenomena such as the wind can exert on us, radically altering our sensory relationship with the world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 12-22 [Access article in PDF] Art of a Child with Autism:Drawing Systems and Proto Mathematics Julia Kellman Sung, a five year old girl with autism, was enrolled by her mother in the university Saturday art program with the hope that Sung's favorite church school teacher, a graduate student in art education, would be able to tutor her daughter during the weekly classes. (...) Though hesitant because of her inexperience with autistic children and because of Sung's frequently angry tantrums on Sundays and the little girl's inability to speak, the young teacher, nonetheless, agreed to the plan. Her concerns proved unfounded, for Sung was able to work in the midst of the churning mass of noisy pre-K classmates without any signs of the fury that drove her to screaming, biting fits in church school. Additionally, and to everyone's delight, Sung's ability to develop as an image-maker was itself confirmed within the first few weeks of art class, dispelling any remaining doubts of her art aptitude or the value of art classes for the little girl.Additional questions and considerations arose about Sung and her art during the classes. How might one understand Sung's changing imagery? What might such explanations and images suggest about Sung herself and her activities? What might her art indicate about her similarity to other children and their art making? The possible answers to these and related queriespresented themselves during the semester, suggesting new avenues for inquiry surrounding both the wordless little girl and her Saturday morning creations.What follows is the story of Sung and her graphic development as it unfolded during the art class. Further, it is an attempt to uncover what Sung's drawings suggest about methods that are useful in the examination of the art of an autistic child. Documentation was carried out with a 35 mm. camera and color copier throughout the semester. Ethnographic methods including participant observation and interviews were employed to gather contextual data. Alfred Schutz's phenomenological sociology allowed for [End Page 12] consideration of nonverbal and verbal social interactions and behaviors. 1 A search of the literature of early mathematical development and drawing systems provided the underpinnings for early insights and later hypotheses. Here is Sung's story. Sung Sung, thick black hair swung forward to hide her face, lies prone in the middle of the busy classroom oblivious to the surging, chattering children around her, so intent is she on the sketchbook in which she draws. Next to her left elbow teeters a stack of a half dozen boxes of thick craypas from which she snatches colors, never looking at the hue she grabs. Her drawing behavior has a pattern; it looks like this. Shuffle through the identical boxes. Choose a box. Open it. Snatch out a bright waxy craypa. Hold it close to the eyes. Sniff it. Lick it. If the craypa passes muster, scribble with it in rich heavy lines — banana-like arcs, large solid dots the size of cherries, rectangular patches, and a variety of forms that come and go from one drawing to the next, like heat lightening on a summer evening. Her less frequent forms include: an enclosed yellow irregular shape with a dark dot in the middle suggesting a fried egg; a two-sided zig-zag; X forms; and solid and empty trapezoids made sail-like with superimposed crosses serving as mast and boom.Unlike the chosen craypas, however, those that do not pass Sung's inspection suffer a terrible fate; they are broken in two and their pieces tossed without ceremony to opposite sides of the room to be trodden into flat, bright smears by the other children in the class, pathetic traces of Sung's art. The craypas boxes themselves also play a role. For when they are closed they are used as blocks or toys, objects to be neatly stacked and restacked or placed side by side on the floor. When they are open, however, they are mere receptacles, passively holding... (shrink)

The persistent occurrence of a locution that turns out to be far from trivially used, and the translation hurdles related to it are the core elements of this contribution. The term in question is subject-matter, which is used by John Dewey in many of his writings and of which he provides an explicit conceptualization in Art as Experience. Focusing on this term and its hyphenation allows to emphasize and shed new light on important aspects of Dewey’s thought, in that: it (...) is increasingly technicalized in Dewey’s writings; it holds “antecedence” or “primacy”; in its double-barreled employment it keeps together the twofold meaning of “inherent matter” and “addressed matter”; and finally it epitomizes a number of traits shared by the notion of Lebenswelt, hence affording a programmatic and experimental comparison between the two. (shrink)

When viewing the picture of a beautiful sunset, how many of us realize that, while we admire it as a work of art, we have just taken the very first step toward pornography? And that both the beauty in the sunset and the senses that recognize such beauty are very likely to be anti-art? Making a radical departure from the conventional wisdom on art and beauty, ART, BEAUTY, AND PORNOGRAPHY presents the startling thesis that things of beauty are not only (...) unrelated to art but often responsible for pornography. How is this possible? In this controversial work, Huer argues that beauty pleases the senses, which demand to be pleased with each new stimulation. In a society whose members put a premium on pleasurable things, it is natural that the visual medium occupies a commanding position among forms of cultural expression. In the process of competing to please the human eye, American society (the most graphic and visual civilization to date) concentrates on objects and events that please consumers and, by doing so, sell products. Much of this sense-pleasing business takes place in the name of art. But those senses pleased by what is beautiful are the same senses that receive gratification from the pornographic. Art has no place in this process. Based on these arguments, Huer makes a strong case for re-orienting the purpose of art. Drawing on historical experience in the West, he defines art as a statement about life: pain, wisdom, and happiness embodied in the life process. The artist is a teacher of life, the artwork his philosophy, and the art public the beneficiaries of his teaching. Neither beauty nor sensory pleasure, therefore, has anything to do with art. This important volume is, above all, a critique of contemporary American culture directed most especially to society's confusion about art, beauty, and pornography, and its willingness to allow business to assert dominion over artistic impulse. ART, BEAUTY, AND PORNOGRAPHY is a searing commentary on the follies of our time as well as an inspired defense of high art and the creative spirit. (shrink)

In recent decades, the internet has become our predominant public space and yet the role of art in this space remains largely unthought. This paper argues that graphic art, and in particular digital graphic art, has great power to shape and transform our thinking and experience. But with that power comes an enormous political and ethical responsibility, a responsibility too often ignored by programmers and computer scientists. This paper uses the work of Denis Schmidt and Jacques Taminiaux as (...) important resources for developing a Heideggerian response to this lack. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

We owe our first graphic experiences to Neanderthal Man, who introduced to the cultural baggage of the genus Homo two metaphorical behaviors that are fundamental in terms of their innovation: one concerns the preservation of the bodies of the dead through burial, the other is the making of signs, which in this stage of evolution do not yet represent recognizable subjects but only lines. This attests to the creation of a graphical tool that materializes and makes visible that which (...) exists in the mind, something that is other than itself, thus providing signs of a communication that unfortunately today we cannot define semantically. We cannot say whether these linear marks are a sort of «brand» or if they are carriers of meanings, however, we can observe that, with the Neanderthals, a conceptual, projectual plan exists that enables the measurement of space and the configuration of a regular rhythm, creating an original condition of movement and an association of potentially dynamic lines. (shrink)

To engage with the aesthetic is to watch yourself watching and what you see cannot be reached, for all that exists is the reflection of the vision performed by you. The aesthetic experience offers insights into the consciousness that are both ancient and linked to creative inventions in present-day art culture. In "A Place to Know", Margaretha Rossholm Lagerloef interprets twelve recent artworks, from Sol LeWitt to Katharina Grosse. She sets out the unique claims and qualities which are inherent in (...) seeing and understanding contemporary art. The book presents four analytical categories of artwork, charting the character of the aesthetic experience and the traditions that determine how we think about visual art. She peels back the layers of consciousness to lay bare the forgotten seams of experience, interwoven with artistic expression. The ancient thus arcs into a deepened awareness of avant-garde art. (shrink)

This article describes activities carried out at the computational art laboratory and discusses a question about place. To think of place as the place of universal, it’s ground, the place where you live, it isn’t only a residence place, a construction of exploration, but also the planet as a possible place of survival. Therefore, we will present artworks that, in the name of a conception inspired by ecocentrism, propose to eliminate the ontological and axiological difference between all living beings and, (...) for this reason, considers the biosphere as an important biotic unit in the context of artworks. Here the development of affective computer interfaces that seek to promote interactions is also described: a process by which an external or an internal stimulus causes a specific reaction, producing a perception, considering that the idea, in the Deleuzian and Guattarian sense, goes through creative activities. The idea arises in three distinct forms: in the philosophical context, in the form of concepts and in visual production. We describe below the results of collaborative research that has in common the poetics of interactivity between living beings and machines through graphical and machine interfaces, provided by computational processes and methods that approach several ideas involving affective mapping, body, nature and artificial life. (shrink)

_The Art of Comics_ is the first-ever collection of essays published in English devoted to the philosophical topics raised by comics and graphic novels. In an area of growing philosophical interest, this volume constitutes a great leap forward in the development of this fast expanding field, and makes a powerful contribution to the philosophy of art. The first-ever anthology to address the philosophical issues raised by the art of comics Provides an extensive and thorough introduction to the field, and (...) to comics more generally Responds to the increasing philosophical interest in comic art Includes a preface by the renowned comics author Warren Ellis Many of the chapters are illustrated, and the book carries a stunning cover by the rising young comics star David Heatley. (shrink)

The four papers in this volume arise out of a research project, “Making Visible: The visual and graphic practices of the early Royal Society,” funded by the Arts and Humanities Research Council of the United Kingdom.1 The project sought to understand how visual resources and practices contributed to, and shaped the development and dissemination of scientific knowledge in the first fifty years of the Royal Society. The Royal Society, as an early institution dedicated to promoting natural knowledge, has (...) received substantial scholarly attention from historians of science, aided by a rich administrative archive that has been preserved virtually unbroken since its foundation.2 Because modern cataloguing of manuscripts... (shrink)

The emergence of cave art in Europe about 30,000 years ago is widely believed to be evidence that by this time human beings had developed sophisticated capacities for symbolization and communication. However, comparison of the cave art with the drawings made by a young autistic girl, Nadia, reveals surprising similarities in content and style. Nadia, despite her graphic skills, was mentally defective and had virtually no language. I argue in the light of this comparison that the existence of the (...) cave art cannot be the proof which it is usually assumed to be that the humans of the Upper Palaeolithic had essentially ‘modern’ minds. The article includes peer commentary by Paul Bahn, Paul Bloom, Uta Frith, Ezra Zubrow, Steven Mithen, Ian Tattersall, Chris Knight, Chris McManus and Daniel Dennett , with response by Nicholas Humphrey. [Owing to the number of illustrations, the full text for this file is in excess of 1 Mb. .]. (shrink)