This essay re-examines the once promising idea that style analysis can provide an independent source of insight into an artifact's non-stylistic context. The essay makes explicit the consequences of treating collective style as such a source in archaeology and anthropology of art, and further develops a new framing for the idea that avoids the criticisms largely responsible for the decline in theoretical interest in the epistemic import of visual style analysis since World War II. This re-framing (...) proposes that inference from style to context is permissible on those occasions when a collective style signals by its morphology its suitability to serve a certain function. And it does so because it prescribes publicly certain modes of behavior or spectatorship. Furthermore, the public nature of the signaling may be such that it allows even uninitiated spectators to get a sense of it and thus to gain access to some of the motivations and norms informing the collective's form of life. (shrink)

Visual stylometry is a new interdisciplinary research field that sits at the junction of digital humanities, empirical aesthetics, and computer science. Research in this field employs image analysis algorithms to study key aspects of artistic style. The nature of artistic style is the subject of ongoing debate within art history and philosophy of art. Computational and statistical methods in visual stylometry allow researchers to quantify and compare aspects of artistic style over the course of the (...) career of an individual artist, among artists who share in a common artistic style, and across different schools of art. The results of these studies provide clues to the image features that enable viewers to categorize works as belonging to different artistic styles. -/- We have developed a system that can act as an open access laboratory for visual stylometry. This approach is powerful enough to support advanced academic research in computer science, cognitive science, art history, and the philosophy of art while at the same time providing a user friendly interface accessible to students and researchers with little or no computer science background. Our framework is designed around the idea of scientific workflows. Scientific workflows allow users to build executable analyses in the same way they would draw a flowchart, by dragging objects representing data sets and image analysis procedures onto the work-space and drawing links between them. These workflows and data sets can be exported using open standards as web objects that can then be shared or modified by other users. -/- Our platform, Workflows for the Analysis of Images in Visual Stylometry (WAIVS), has the potential to promote computational literacy and data analytic skills among humanities students, to introduce science students to research in art and the humanities, to explore the nature of artistic style and its role in our understanding of artwork, and to help researchers in cognitive science understand how viewers perceptually categorize, recognize, and otherwise engage with artworks. (shrink)

In this paper, based on computer reading and processing of music frequency, amplitude, timbre, image pixel, color filling, and so forth, a method of image style transfer guided by music feature data is implemented in real-time playback, using existing music files and image files, processing and trying to reconstruct the fluent relationship between the two in terms of auditory and visual, generating dynamic, musical sound visualization with real-time changes in the visualization. Although recommendation systems have been well developed (...) in real applications, the limitations of CF algorithms are slowly coming to light as the number of people increases day by day, such as the data sparsity problem caused by the scarcity of rated items, the cold start problem caused by new items and new users. The work is dynamic, with real-time changes in music and sound. Taking portraits as an experimental case, but allowing users to customize the input of both music and image files, this new visualization can provide users with a personalized service of mass customization and generate personalized portraits according to personal preferences. At the same time, we take advantage of the BP neural network’s ability to handle complex nonlinear problems and construct a rating prediction model between the user and item attribute features, referred to as the PSO-BP rating prediction model, by combining the features of global optimization of particle swarm optimization algorithm, and make further improvements based on the traditional collaborative filtering algorithm. (shrink)

In practice, scientists must convey data in a “representational style”. Various authors seek to explain the epistemic role of scientific visual representation in terms of formal conventions. Goodman also tends to dismiss the epistemic relevance of human cognition. My position is that visual conventions are nonarbitrary, in that they play to scientists’ cognitive abilities and limitations. My account draws on Perini's formal analysis, scientific case studies, and empirical literature on global pattern detection in neurotypicals, autistics, and dyslexics.

The article is devoted to the problem of changing stylistic paradigm in the Persian poetry of XVI-XVII centuries and reflection of this process in self-consciousness of outstanding authors of the period. Parallel with preserving stable norms of traditional poetics literary practice demonstrates flexibility and forms new range of popular poetic strategies. New aesthetic criteria if ideal poetic language, expressed with epithet ‘colourful’, appears alongside with criteria of previous period, expressed with epithet ‘sweet’ and step by step gets leadership. Lyric poetry (...) of three famous authors of the period of formation and golden age of Indian style served the object of analyses. The phenomena of visualization of imagery connected with perfect poetic language illustrated by examples of ‘Poet and Poetry’ motifs located in ‘frame text’ in end of the qhazal. These motifs serve one of the regular contexts of author’s name and show author’s attitude to his creation, including stylistic preferences. Refinement of poetic fantasy being declared basic condition of creating perfect poetry described visually as coiling lasso, poetry itself as flourishing garden, fountain or European house decorated with painting. Such characteristic of word creation has analogies in the works of Baroque style theorist Giambattista Marino. (shrink)

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: the (...) essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

The article situates Kittler’s view on the question of visual technology within his general media theory and critically examines Kittler’s optical paradigm with regard to questions of (visual) technology, discourse, strategy and style. Focus is given to the link between visual technology and the Renaissance period.

Visual programming language is a crucial part of learning programming. On this basis, it is essential to use visual programming to lower the learning threshold for students to learn about artificial intelligence to meet current demands in higher education. Therefore, a 3-h AI course with an RGB-to-HSL learning task was implemented; the results of which were used to analyze university students from two different disciplines. Valid data were collected for 65 students in the Science -student group and 39 (...) students in the Humanities -student group. Independent sample t-tests were conducted to analyze the difference between cognitive styles and computational thinking. No significant differences in either cognitive style or computational thinking ability were found after the AI course, indicating that taking visual AI courses lowers the learning threshold for students and makes it possible for them to take more difficult AI courses, which in turn effectively helping them acquire AI knowledge, which is crucial for cultivating talent in the field of AI. (shrink)

Recent research suggests that individuals with relatively weak global precedence (i.e., a smaller propensity to view visual stimuli in a configural manner) show a reduced face inversion effect (FIE). Coupled with such findings, a number of recent studies have demonstrated links between an advantage for feature-based processing and the presentation of traits associated with autism among the general population. The present study sought to bridge these findings by investigating whether a relationship exists between the possession of autism-associated traits (i.e., (...) as indicated by individuals’“autism quotient” [(AQ) and the size of the FIE. Participants completed an on-line study in which the AQ was measured prior to a standard face recognition task where half of the faces were inverted at test. The results confirmed that higher AQ levels were predictive of smaller FIEs. Implications for a common underlying factor relating to processing orientation are discussed. (shrink)

The article focuses on identifying differences in the locus of control and styles of coping with stress among young students who are artistically gifted within the fields of music and visual arts. The research group includes Polish students of both music and visual art schools who develop their artistic talents in schools placing particular emphasis on professional training of their artistic abilities and competences within the field of music or visual arts respectively. We make an assumption that (...) different types of difficult situations experienced by youth educated at music and visual art schools may generate differences in dominating personal traits as well as in their sphere of emotions. The results of crosssectional research in 2013 confirm the assumption regarding differences among music and visual art school students both with regard to the source of the locus of control, understood as the personality variable, and dominating styles of coping with stress. Moreover, a positive correlation between the tendency towards internal locus of control and a task-oriented style of coping with stress in difficult situations has been observed in music school students. (shrink)

This is an English translation of “‘Das Problem des Stills in der bildenden Kunst’” (1915). It is Erwin Panofsky’s first published essay and provides a critique of the famous theory of pictorial style by Panofsky’s distinguished predecessor, Heinrich Wölfflin.

Models of global governance abound: expert governance, networked governance, algorithmic governance, and old-fashioned juridico-political governance vie for explanatory power. This article takes up style as a way of analysing configurations of governance that do not readily fit a particular model of governance. Style is particularly revealing when it comes to deliberately unspecified or over-specified, genre-busting, and bet-hedging ways of imagining governance. The UN’s use of the phrase ‘convening power’ is a case in point. This article looks at how (...) the UN has styled itself as a convening power in the area of counter-terrorism governance. A visual analysis of promotional materials for the UN’s Counter-Terrorism Week suggests that the UN’s self-styling as a convening power is shaped by anxieties as well as aspirations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 124-137 [Access article in PDF] Difference, Visual Narration, and "Point of View" in My Name is Red Feride Çiçekoglu This paper focuses on the difference between Eastern and Western ways of visual narration, taking as its frame of reference the novel My Name is Red, by Turkish author Orhan Pamuk, winner of the 2003 International IMPAC Dublin Literary Award, announced (...) on May 19, 2003 at Dublin Castle. 1This book is particularly important in terms of visual narration because it highlights the critical concept of "point of view" (POV). In his now internationally renowned novel, Pamuk's anachronistically created characters confront each other on ways of seeing and visual narration in the context of sixteenth-century Istanbul, when it was the capital of the Ottoman Empire. The visual narratives of miniature painting are elaborated in comparison with the contemporary Renaissance art, unfolding the differences in the depiction of faces, in particular. Style in visual narration is treated in the novel as a reflection of seeing and imaging the faces in their uniqueness and iscontrasted with the tradition of Islamic book illumination where all faces appear to be the same. Western concerns with individuality and the uniqueness of the POV as revealed in one-point-perspective, suggests it is an indispensable aspect of style. In that sense, My Name is Red highlights portraiture in the visual arts as a reflection of character in visual narration; reflecting both the subject and the artist whose individuality is represented in the style of painting. Pamuk's novel, constructed as a symphony of many different voices, is well-suited in its form to its subject matter since it elaborates the concept of POV in fictional narrative structure. Through his characters, Pamuk's readers enter a world where Renaissance perspectivism — a dominance of vision — confronts the ultimate vision of blindness, presented in the novel as the self-imposed fate of the miniaturists at the peak of their careers. The worry about point of view is thus contrasted with its opposite — the absence of vision as supreme achievement within the Islamic-Turkic tradition. [End Page 124]This essay discusses issues of portraiture and character, movement and time, and story and space with reference to the narrative structure in fiction film. It aims to contribute to the discussion on POV in visual narration, dealing with the narrative structure of film as a continuation and interaction of different traditions in East and West. "Point of View" Revisited As a key concept in the narrative structure of both film and literary fiction, POV has been controversial. As a technical term in film practice, however, it is defined rather clearly: POV is a camera concept which describes what is seen by the camera. Where one puts the camera and what the camera sees defines the frame and the image. When one wants to tell a story with a sequence of images, one has to consider how one will use the camera, both for the whole sequence and for each image. From whose point of view, or from which different points of view will the story be told? Will it originate with a omniscient point of view or with the point of view of one of the characters, diving into the story from the inside? Will the camera be placed at the top of the room, on a crane, or under the table from where a child can see only the legs of the grown-ups? One has to make a series of technical and artisticdecisions relevant to the policy of points of view from which to narrate. This is similar to a comic strip, except that in visual narration with a camera, the frames follow one another in time rather than in space, creating the illusion that the images are moving when projected.We take this premise so much for granted in an age flooded withimages — seeing almost as a camera ourselves — that we tend to overlook the fact that once there were other ways of seeing and narrating. Narratives... (shrink)

Gibbs presents a detailed exploration of classics such as Rebel Without a Cause and Lone Star. The book is an invaluable tool in understanding the expression of visual style, and an unrivalled text for the understanding of interpretative methodologies.

Congo Style presents a postcolonial approach to discussing the visual culture of two now-notorious regimes: King Leopold II's Congo Colony and the state sites of Mobutu Sese Seko's totalitarian Zaïre. Readers are brought into the living remains of sites once made up of ambitious modernist architecture and art in Kinshasa, Democratic Republic of the Congo. From the total artworks of Art Nouveau to the aggrandizing sites of post-independence Kinshasa, Congo Style investigates the experiential qualities of man-made environments (...) intended to entertain, delight, seduce and impress. In her study of visual culture, Ruth Sacks sets out to reinstate the compelling wonder of nationalist architecture from Kinshasa's post-independence era, such as the Tower of the Exchange (1974), Gécamines Tower (1977), and the artworks and exhibitions that accompanied them. While exploring post-independence nation-building, this book examines how the underlying ideology of Belgian Art Nouveau, a celebrated movement in Belgium, led to the dominating early colonial settler buildings of the ABC Hotels (circa 1908-13). Congo Style combines Sacks's practice as a visual artist and her academic scholarship to provide an original study of early colonial and independence-era modernist sites in their African context. (shrink)

Eye-tracking studies have revealed a specific visual exploration style characterizing individuals with Autism Spectrum Disorder (ASD). The aim of this study is to investigate the impact of stimulus type (static vs. dynamic) on visual exploration in children with ASD. Twenty-eight children with ASD, 28 children matched for developmental communication age and 28 children matched for chronological age watched a video and a series of photos involving the same joint attention scene. For each stimulus, Areas of Interest (AOI) (...) were determined based on Voronoi diagrams, which were defined around participants’ fixation densities, defined by the mean shift algorithm. To analyze the eye-tracking data on visual exploration, we used a method for creat-ing AOI a posteriori, based on participants’ actual fixations. The results showed the value of both kinds of stimuli. The photos allowed for the identification of more precise AOI, and show similarities in exploration between ASD and typical children. On the other hand, in video, among ASD children only, there are few differences in the way they look at the target depend-ing on the deictic cue used. This raises questions regarding their understanding of a joint atten-tion bid recorded on a video. Finally, whatever the stimulus, pointing seems to be the most im-portant element for children to look at the target. (shrink)

Several visual and emotional processes reflect similar underlying patterns of cortical activation. Characteristic individual perceptual style was measured by lateral attentional errors in a standard visual line-bisecting task. The direction of error indicates a predominance of activation in the contralateral prefrontal cortex. Individual differences in mood were measured by the self-endorsement of emotional adjectives. A total of 27 right-handed adults responded to the trait version of the Positive and Negative Affect Schedule (PANAS). As predicted, rightward errors in (...) visual line bisecting correlated positively and significantly with the Positive Affect subscale. The scale adjectives determined and strong had significant correlations with the visual bisecting measure. The negative affect subscale was correlated with neither the line bisecting measure nor the positive subscale. An extension from trait to state measures tested the self-description of current affect using related synonyms and antonyms in a subset of 22 of the participants. Active, dominant, mighty, powerful, and strong were significantly associated with rightward bisecting errors, whereas passive and cooperative were correlated with errors in the opposite direction. The results were incompatible with the valence model (positive-negative), direction model (approach-withdrawal), and movement model (approach-resistance) of the lateral prefrontal substrate of emotion. The action tendency model (active approach-passive yielding) was supported. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 125.1 (2004) 145-147 [Access article in PDF] Nancy Worman. The Cast of Character: Style in Greek Literature. Austin: University of Texas Press, 2002. xiv + 274 pp. Cloth, $45. In this ambitious and interesting book, Nancy Worman uses selected texts from Homer through Gorgias and other rhetorical theorists to examine the conjunction of a speaker's verbal and visible, corporeal mannerisms (a combination she describes (...) in Pierre Bourdieu's term, "bodily hexis") that produces a style of social behavior that conforms to Greek culture's traditional expectations and ideas (Bourdieu's "habitus"). Having "Cast" in the title thus emphasizes the visual: "the cast of character" is the set of "physical and linguistic mannerisms that mark a speaker as a type conforming to a set of socially familiar categories" (1). Its visibility and adherence to type would seem to make character transparent and behavior predictable, and so it seems they are in many cases. But a cast is, after all, an appearance. Alongside this sense of familiarity, argues Worman, the Homeric poems already show a recognition of the dangerous allure of visual style and the possibility that outward character might be separated from inner qualities—a recognition that grows sharper in tragedy and culminates in distrust of the sophists in many quarters. Worman argues that those durable characters, Helen and Odysseus, respectively, embody these two dangers, and she centers her discussion on them.This is a promising way to look at Greek literature, and Worman carries her approach out well in her readings of particular texts. Perhaps the most suggestive aspect of the book, however, is that it asks us to reconsider our understanding of "style," which we tend to think of as purely textual and rhetorical in the tradition of Aristotle. Worman argues that until the fourth century B.C.E., the Greeks had a traditional understanding of style that was much broader: the projection of character type through bodily hexis(understood as the combination of verbal and corporeal habits). Plato and Aristotle, she suggests, in different ways and each for his own reasons, suppressed the bodily aspects of style that were crucial to the traditional conception, and an adequate account of Greek ideas about style has to begin not with them but with that tradition. In Worman's treatment of it, "style" refers not just to the social performances of characters within texts but also to the performance of the texts themselves (epic, drama, and deictic oratory). Worman comments on the metapoetic (or metarhetorical) dimension of these texts, whereby the bodily hexisof the performer, often in rich costume, either confirms (and is confirmed by) the characters' behavior or undermines it. Her statements to this effect tend to be unsystematic and general, but the approach works extremely well in the case of Gorgias. In the Encomium of Helen, the orator's rich robes and delivery embody and exert the sensual power of language that Gorgias describes and that Helen herself exemplifies, whereas in the Palamedes, by calling attention to performance, the robes and delivery undermine Palamedes' insistence on the convergence of bodily hexisand essential character.It may seem peculiar that "bodily hexis" comprises linguistic as well as physical behavior, and in Worman's actual practice, the phrase does get stretched [End Page 145] considerably at times. But she insists that the Greeks thought of language as corporeal, that performance for them was "a whole-body experience of language" (194). Here, too, the argument is more convincing for rhetorical theory than for the archaic period. There may be more of a problem, however, with the method of presentation in the chapters on epic and tragedy, which often begs the question of language as part of bodily hexis, than there is with the idea itself, which is quite attractive.After an initial chapter that discusses key terms (kosmos, ethos, and characte \ r), Worman devotes two chapters to Homer. It was probably not the best strategy to treat verbal and corporeal behavior separately in successive chapters, although Worman gives her reasons for doing this. Not only does this... (shrink)

Purpose. Based on the anthropocentric approach to the analysis of visual self-presentations of Artemisia Gentileschi in paintings, to present the artwork as self-objectifications of the artist, which give rise to a new cultural reality and are at the same time a means of knowing the essence of man. Theoretical basis. The principles and methods of philosophical and anthropological research in combination with biographical, historical and comparative, iconographic, figurative and stylistic methods were used when writing the article. Among philosophical and (...) anthropological methods the principle of anthropological reduction was used, based on which the works by Artemisia Gentileschi were analyzed as her self-objectification, principle of extrapolation of a separate fact of the painter’s life and anthropological interpretation of art evolution, when an attempt is made to know their creator through a series of chronological consistent works as figurative objectification. The biographical method was used when working with data on the painter’s life, iconographic and figurative stylistic – when analyzing the art visuals: self-portraits, allegories and narrative paintings. The analytical work was carried out in stages as transition from an iconographic interpretation of paintings with gradual elimination of art and style characteristics as extra-anthropological cultural constants with subsequent anthropological reduction of cultural image. Originality consists in the author’s method of analyzing the works of visual art in terms of anthropocentric approach, as well as in considering the artwork by Artemisia Gentileschi as her self-objectification as such that give rise to a new cultural reality. Conclusions. The artworks by Artemisia Gentileschi in diachronic deployment can be seen as the painter’s self-objectification, which traces the evolution of self-expression from a person with traditional self-perception by social gender stereotypes to the phenomenon of personal life, which will determine further evolution of her self-identification and extirpation of sense of shame through virtual revenge, repentance, guilt, and formation of component of the painter’s identity as exemption from social gender prejudices and stereotypes on roles and standards of behavior socially assigned to women. (shrink)

Arthur Danto believed that “style has to be expressed immediately and spontaneously.” Danto writes that “the question of when is a thing an artwork becomes one with the question of when is an interpretation of a thing an artistic interpretation”. His extensive art criticism focuses, then, on the way artworks are about. The presence of a metaphor and the demand for interpretation are insufficient to draw the demarcation line between art and not‐art. A work of art ought to be (...) “a piece of visual thought”. Danto's own style was an invitation, almost intimate, to engage his enticing and entertaining way of thinking. His writing creates the impression that he is speaking and simply registering his thoughts and imaginings as they come. (shrink)

The aim of the present study was to investigate the association between attachment dimensions and neural correlates in response to the Rorschach inkblots. Twenty-seven healthy volunteers were recruited for the electroencephalographic registration during a visual presentation of the Rorschach inkblots and polygonal shapes. The Attachment Style Questionnaire was administered to participants. Correlations between the ASQ scores and standardized low-resolution brain electromagnetic tomography intensities were performed. The Rorschach inkblots elicited several projective responses greater than the polygonal shapes. Only during (...) the Rorschach inkblots presentation, discomfort with closeness and relationships as secondary subscales were negatively correlated with the activation of right hippocampus, parahippocampus, amygdala, and insula; need for approval subscale was negatively correlated with the activation of orbital and prefrontal cortex and left hippocampus. Moreover, the correlations between attachment dimensions and neural activation during the Rorschach inkblots were significantly higher compared to the same correlations in response to polygonal shapes. These findings suggest that attachment style can modulate brain activation during the projective activity of the Rorschach inkblots. (shrink)

The use of assistance systems aimed at reducing road fatalities is spreading, especially for car drivers, but less effort has been devoted to developing and testing similar systems for powered two-wheelers. Considering that over speeding represents one of the main causal factors in road crashes and that riders are more vulnerable than drivers, in the present study we investigated the effectiveness of an assistance system which signaled speed limit violations during a simulated moped-driving task, in optimal and poor visibility conditions. (...) Participants performed four conditions of simulated riding: one baseline condition without Feedback, one Fog condition in which visual feedback was provided so as to indicate to the participants when a speed limit was exceeded, and two post-Feedback conditions with and without Fog, respectively, in which no feedback was delivered. Results showed that participants make fewer speeding violations when the feedback is not provided, after 1 month, and regardless of the visibility condition. Finally, the feedback has been proven effective in reducing speed violations in participants with an aggressive riding style, as measured in the baseline session. (shrink)

Vesalius wrote nothing about the aesthetics of the anatomical illustrations found in his De humani corporis fabrica (1543). There are, however, two passages in this work that offer a starting point for an investigation into the illustration’s idealised style. In discussing the body that is best for a public dissection Vesalius says that it must be one that resembles the ‘Canon of Polycleitus’, and later, he refers to his pursuit of the historia absoluti hominis or historia of the perfect (...) man. These two passage lie at the heart of a solution to questions concerning the style of Vesalius’s illustrations. This thesis seeks to investigate the role that visual material (art) played in determining the visual character of Vesalius’s natural philosophical illustrations. In antiquity art and nature were generally thought to be opposed. This distinction was undermined in the sixteenth century as images came to play a role in acquiring and conveying knowledge about the natural world. The role that art played in determining the visual character of Vesalius’s illustrations, I argue, constitutes another facet of the undermining of the ancient opposition between art and nature that occurred in the sixteenth century. The relationship between art and nature forms the basis of my investigation into the style of Vesalius’s illustrations. I examine three separate but interrelated avenues which, I suggest, played a role in determining the style of the Fabrica illustrations. The first derives from the history of natural philosophy and medicine. I suggest that the concepts art, nature, teleology, form and beauty as they are found in Plato’s Timaeus, and Marsilio Ficino’s sixteenth­century commentary on that work, provide an epistemology and account of the body that is also found in Galen’s On the Usefulness of the Parts of the Body, and subsequently reflected in both the text and illustrations of the Fabrica. This epistemological underpinning is entirely in keeping with the method of proportional representation of the body and associated aesthetic advocated in Polycleitus’s Canon. The second avenue concerns the role that both ancient and Renaissance artworks played in determining the style of the Fabrica illustrations. While the illustrations embody the ideal and typical form advocated in the Canon they also embellish this, and contain stylistic features derived from Hellenistic sculpture and found in High Renaissance art. I argue for specific parallels between Hellenistic sculpture, Michelangelo’s nudes in his Sistine Chapel frescos and Vesalius’s illustrations. Thirdly, I consider Renaissance artwriting and aesthetics as a source for understanding the idealised style of the Vesalian illustrations. In particular I examine Leon Battista Alberti’s tabulation of the ideal man and his aesthetic principle concinnitas. This offers a Renaissance account of beauty and the ideal that is analogous to the Canon of Polycleitus, is central to an understanding of Italian Renaissance art and aesthetics, and has a particular application to Vesalius’s illustrations and their teleological underpinnings. I suggest that contrapposto asthe expression of antithesis in art offers a theoretic parallel for the augmentation of the austere classical style found in Vesalius’s own use of contrapposto and his interest in musculature and movement. Throughout, this thesis is concerned with relationships between visual materials. I elaborate on this theme through an investigation of the influence that Vesalius’s illustrations had on a selection of anatomical illustrations that came in its wake. I construe the relationships that obtain between these illustrations as analogous to those which occur in what are termed art historical ‘movements’. (shrink)

"The essence of literature may be compared to the various plants and trees," Liu Hseih writes, "alike in the fact that they are rooted in the soil, yet different in their flavor and their fragrance, their exposure to the sun."1 The character of each work is manifest in its unique savor and in its scent. In other works, the uniqueness of a work can be savored: texts may echo other works, but the personality of any work is instantaneously verified by (...) what Liu Hseih calls wei, flavor, and hsiu, fragrance. It is this uniqueness that persists and survives innumerable bad imitations, shifts in circumstances, lost phonetics, and changing styles. It is what remains fresh in the classics and enables the contemporary reader to feel a sense of discovery and newness. Liu Hseih says that of these lasting works that their "roots are deep, their foliage luxuriant, their expression succinct yet rich; the things described were familiar, but their ramifications are far-reaching: so, although they were written in the past, they have a lasting savor that remains fresh."2 · 1. Liu Hseih, Wen-hsin tiao-lung chu, ed. Fan Wen-lan , p. 519; Shih, The Literary Mind and the Carving of the Dragons , p. 232.· 2. Liu Hseih, p. 22; Shih, p. 24. Although the same Chinese word wei is used in this passage, I have translated it as "savor" to stress the combination of qualities inherent in a work rather than restrict these qualities to a single "flavor." Eugene Eoyang is an associate professor of comparative literature and of East Asian languages and literatures at Indiana State University. He has contributed over fifty translations to Sunflower Splendor: Three Thousand Years of Chinese Poetry and is the author of an anthology of Chinese fiction, Links in the Chain. (shrink)

My concern in this paper is what, in Art and Illusion, Gombrich calls "the riddle of style". This is the problem of why people at different times and in different cultures have depicted objects in very different ways. An adequate solution to this problem will comprise an explanation of why depiction has a history. The problem seems intractable because of three common assumptions about the history of depiction that, while independently plausible, are inconsistent. First, we assume that this history (...) is a history of realism. Artists from a wide range of cultures and ages seem to have shared the common goal of capturing the visual appearances of the objects they depicted. Secondly, we assume that depictive styles differ from context to context in part because of features internal to the contexts in which they emerged. Finally, we are loathe to accept the claim that differences of style necessarily result from differences in technical capacity. However, these assumptions are in conflict. If artists throughout history sought to capture the appearances of the things they depicted and did not differ markedly in their technical capacities, then surely the pictures each produced should not depend on features internal to the contexts in which they emerged and should instead look more alike. -/- I argue that the history of style is not, in its entirety, a history of realism. Throughout history, pictures have been used to inform viewers about a wide variety of things other than their objects' appearances. Investigating the purposes for which pictures were used in particular historical and cultural contexts will help us to understand why certain styles were appropriate to those contexts. Nevertheless, it will not help us to understand why certain styles were appropriate to just one among a number of contexts in which pictures were used for a single purpose. To understand this, we need to know what cognitive environment was shared by the members of the relevant community. This will enable us to understand why, given the purpose for which pictures were used in that community, a certain style was more informative than another. In addition to cataloguing stylistic changes, therefore, the historian of art has two further tasks: to investigate both the various purposes for which pictures have been used and the cognitive environments of those who used them. (shrink)

Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine? I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and (...) artistic form should correspond, but they fail to recognize sensation as a site where the ecological cause can be fought. Jacques Rancière argues for the political force of the senses, but his distribution of the sensible does not address the particularity of sensory experience. I identify the difference between these approaches within recent relational or ecological aesthetics and my position on sensibility, and indicate some of the problems involved in referring to the senses. I set out the concepts that are central to the cultivation of relational sensibility: style, autofiguration, and the mobility of sensory meaning, extrapolated from Maurice Merleau-Ponty’s discussion of Paul Cézanne. They amount to positioning the senses ontologically as movements along lines of conceptual-sensory connection and implication, based on the transfer of meanings created artistically through style and autofiguration. (shrink)

For Georg Simmel, humans confront their basic contradiction in the city, and such contradiction warrants critical assessment to help in the long tradition of articulating the problematic development of cities or metropolises, and hopefully advocate for the kind of life we want. This contradiction is a corollary to the modern visual aesthetics of young, contemporary artists such as Iza Caparas, Farley del Rosario and Daniel Aligaen. Their works not only depict the city or urban living; also their styles or (...) sense of aesthetics are informed on a larger scale by the geopolitics of the ’70s up to the present, the influence of the early modernist artists, and their own estimation as well of what is happening in the country. This paper uses visual impairment or blindness as a trope for modernist aesthetics. The contradiction of city life produces this particular problematic vision that is then appropriated by these young painters. In this paper I am guided by three important questions: How do I understand the city and its contradictions? How is the city depicted in the paintings of young contemporary artists? How do I talk about modernist paintings and aesthetics in terms of the dynamics of city or urban life? (shrink)

Since 2019, Northeastern post-industrial culture has been a popular topic of discussion; the general public refers to it as the Northeastern Renaissance. Crises of identity, honor, and faith have been recurring themes in several Northeastern films released in recent years. Furthermore, these cinematic narratives frequently generate somber humor by presenting an enormous contrast between ideals and actuality. The article examines how the post-industrial narrative context of Northeast China has influenced audio-visual cultural products and contemporary Chinese popular culture. To elucidate (...) the fundamental aspect of the Northeast narrative, the article’s author employs the absurd theory of Albert Camus. The main structure and viewpoints of the article are as follows: The first is after presenting individuals’ contemplations on the Northeastern Renaissance-instigated post-industrial narrative of the Northeast. In the following sections, the article explores the narrative context of post-industrial audio-visual works in Northeast China, focusing on the absurdity depicted in the documentary Tie Xi Qu: West of the Tracks (2002). The authors’ analysis reveals how the documentary captures the socio-economic decline and the resulting human experiences of absurdity and dislocation. Key findings indicate that the narrative structure and visual style effectively convey the bleak realities of post-industrial life, offering critical insights into the region’s socio-cultural transformation. These findings suggest that future research should explore the intersection of visual media and social change in other post-industrial contexts. -/- . (shrink)

This paper discusses the different teaching-learning styles and how they can be applied to university education. It is a common misconception that there are only three learning styles: visual, auditory, and kinesthetic. There are nine different learning styles that can be applied to university teaching-learning. With a literature review, these nine different learning styles and how they can be used in the classroom setting will be explored. In addition, teaching techniques and strategies in a university education will be explored. (...) The importance of these techniques and how they can be improved will also be discussed, considering three different methods: active learning, collaborative learning, and self-directed learning, taking into account the integration of technology in its design. Finally, a dissertation will be made on the new forms of teaching for the training of professionals for industry 4.0 and the new labor demands. (shrink)

Image-making is a nearly universal human behavior, yet the visual strategies and conventions to represent things in pictures vary greatly over time and space. In particular, pictorial styles can differ in their degree of figurativeness, varying from intersubjectively recognizable representations of things to very stylized and abstract forms. Are there any patterns to this variability, and what might its ecological causes be? Experimental studies have shown that demography and the structure of interaction of cultural groups can play a key (...) role: the greater the degree of contact with other groups, the more recognizable and less abstract are the representations. Here we test this hypothesis on a real-world dataset for the first time. We constructed a balanced database of Indigenous Australian rock art motifs from both isolated and contact Aboriginal groups (those often in contact with other groups). We then ran a survey asking participants to judge the recognizability of the motifs and to provide interpretations. Results show that motifs from contact Aboriginal groups were more likely to be judged as inter-subjectively recognizable and also elicited more convergent descriptions than motifs from isolated groups. This is consistent with the idea that intergroup contact is likely to be an important factor in the cultural evolution of pictorial representation. We discuss the implications of these findings for the archaeology and anthropology of art, and the parallels with language evolution. (shrink)

Although Joyce was losing his sight when he wrote Ulysses, Stephen's and Bloom's visual experiences are extraordinarily rich and complex. Absorbing the influences of popular visual attractions such as dioramas, stereoscopes and mutoscopes, their perceptions of Dublin are shaped by what Walter Benjamin calls 'unconscious optics'. Analyzing closely the texture of their impressions and of Joyce's prismatic narrative styles, Philip Sicker explores the phenomenon of sight from a wide-ranging set of perspectives: eighteenth-century epistemology, theories of the flaneur, Italian (...) Futurist art, photography, and the silent films Joyce watched in Dublin and Trieste. The concept of 'spectacle' as a mechanically-constructed visual experience informs Sicker's examination of mediated perception and emerges as a hallmark of modernist culture itself. This study is an important contribution to the growing interest in how deeply the philosophy and science of visual perception influenced modernism. (shrink)

Diagrams are hybrid entities, which incorporate both linguistic and pictorial elements, and are crucial to any account of scientific and mathematical reasoning. Hence, they offer a rich source of examples to examine the relation between model-theoretic considerations and linguistic features. Diagrams also play different roles in different fields. In scientific practice, their role tends not to be evidential in nature, and includes: highlighting relevant relations in a micrograph ; sketching the plan for an experiment; and expressing expected visually salient information (...) about the outcome of an experiment. None of these traits are evidential; rather they are all pragmatic. In contrast, in mathematical practice, diagrams are used as heuristic tools in proof construction ; notational devices; and full-blown proof procedures. Some of these traits are evidential. After assessing these different roles, I explain why diagrams are used in the way they are in these two fields. The result leads to an account of different styles of scientific reasoning within a broadly model-based conception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Images >> Visual Vertigo:Gaëlle Foray's Homage to the DiscardedAmber Bal (bio)Gaëlle Foray's artistic style invites renewed meditation upon the two human processes that surround the artwork: first, the metamorphosis of raw materials into aesthetic object at the hands of the artist, and second, the phenomenology of perceiving art. On the side of reception (in other words, the viewer's experience of Foray's works), the artworks demand first to (...) be felt. Only following an immediate visceral "strike" of abstract, unfocused perception, does the analytical eye proceed to examine these intricate works up close, parsing their immense and meticulous detail. On the side of artistic creation, Foray's methods elicit questions about the artist's relationship to Earth's finite materials, to the tension between environmental awareness and our own extractive practices. Foray's response to issues of waste and consumption at the heart of artistic endeavors is that she exclusively uses discarded materials; a form of recycling, gleaning, and/or foraging in the lived world. Yet, her approach is distinct from the well-established use of objet trouvés ("found objects") in modern art. Unlike "anti-artworks" such as Marcel Duchamp's 1917 Fontaine (a porcelain urinal signed "R. Mutt") or Piero Manzoni's 1961 Merda d'artista, both of which offer "common objects" in their original state for aesthetic contemplation, Foray's works are not "readymades." As opposed to what Steven Goldsmith describes as Duchamp's "subordinat[ion] of form to concept," Foray manipulates and defamiliarizes her recycled artistic material through processes of collage and bricolage.1 She describes the transformation of collected objects as a means of "paying homage to waste," from natural matter like animal bones, minerals, and fossils to synthetic waste such as long-discarded plastic toys or Tupperware containers, abandoned family photo albums, and démodé dinner party utensils from the eighties.2What emerges from the selection of Foray's works featured in this issue is a clash between the ephemerality of the human lifespan and planetary spatio-temporal dimensions. Her artistic process forces vertiginous acknowledgement of the fragility of human existence as it presses up against that which the human tries to capture through art: the world. What's more, Earth's monumental landscapes only ever figure as and in fragments. Two specific conflicts return across Foray's works to create this sense of vertigo. First is the contrast between the limited human lifespan and the eternity of the fossil; as the latter is often figured alongside photographs of humans or man-made materials in a manner that draws attention to this unfathomably large geological temporal scale. A secondary contrast arises from Foray's recurrent human-nature juxtaposition as the boundedness of human life continually knocks up against raw and unruly natural matter. Foray's recourse to diverse textures and materials heightens these oppositions—schist lies atop bone, the smooth veneer of a photograph envelops a human form but rests against the jagged edges of a stone. As we shall explore through ruminations on specific pieces, her method prompts inquiry into the relationship between these human [End Page 110] and geological timescales, attesting Foray's remarkable ability to capture brevity and limitlessness in tandem. Of equal note is Foray's repeated, self-reflexive wink to art's mediation of the world through a "framing effect," as she regularly makes the protective screen of a work or staging of an exhibition space integral to the artwork itself. This is her own means of drawing attention to the conditions in which the work of art is encountered, both exaggerating the distantiating function of the frame in classical art which "served to make [artwork] discontinuous with its surroundings" and building upon the "readymade" tradition's abolition of the barrier between viewer and artwork.3Foray's pieces, composed from an amalgam of natural matter and industrial or household waste, operate as self-contained ecosystems that are akin to stumbling upon a diorama that has escaped from its box, or a snowglobe whose glass sphere has been shattered and from which the liquid has drained away. In La Mer (see pages 34/35), the background's glitter and the iridescent blues... (shrink)

Lotus is one of the traditional Chinese patterns that runs deep in the history of China. During the rule of Wei and Jin dynasties, as well as Northern and Southern dynasties, Buddhism teaching has become widespread in China. Buddhism affected the traditional Chinese lotus patterns in terms of the used artistic means and methods of expression. Analysis is conducted on manifestation and evolution of the artistic form of the lotus pattern in Chinese culture, as well as the changes in its (...) artistic means of expression and graphics based on the information described in the scientific literature dedicated to artefacts. The conclusion is made that the development and evolution of decorative patterns is often a result of interaction of different cultures and forms of art, rather than continuation of one or another single line. The author summarizes the common artistic form of lotus patterns of this period, as well as the basis of the visual language of lotus patterns and its development. The artistic style of this period under review remains in a relatively stable transitional stage from the perspective of formal expression. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Exploring Visual Culture: Definitions, Concept, ContextsPaul DuncumExploring Visual Culture: Definitions, Concept, Contexts, edited by Matthew Rampley. Edinburgh: Edinburgh University Press, 2005, 257 pp., $32.00 paper.I review this new introductory text in light of its competition as a textbook for undergraduates and as an introduction for graduate students. Other such texts include Barnard, Elkins, Mirzeoff, Walker and Chaplin, and Sturken and Cartwright,1 which appears to be the (...) most widely used. Rampley's anthology stands up well among these competitors, especially for those who wish to transition from art to contemporary popular visual culture rather more gently than other texts that, for many students, might come as too abrupt a disjuncture from mainstream practice in schools of art and design. As Matthew Rampley states in his excellent introduction, if the book has an original contribution to make, it is to situate an acknowledgment of traditional practices and issues into the makeup of visual culture studies. Unlike other texts, mentioned above, which tend to stress screen and print media, Rampley's agenda is to remind readers of the historical origins of many recent developments as well as the contribution of cultural forms other than two-dimensional ones. Thus, chapters are included that trace the history and continuing contribution of traditional media; art, design, craft, and architecture each receive individual chapters. MacDonald, for example, describes the complex meanings of craft and its relationship to fine art and design from classical times to today, as well as summarizes the characteristics and politics of craft today. Furthermore, the influence of technology is charted principally through conventional art, and the chapters on photography, film, and fashion are likewise cast largely in terms of historical accounts of whether these forms should be considered to be art.The historical bias is equally evident in the pictures used to illustrate the text. While, for example, there are contemporary popular images, such [End Page 118] as a cover of the Sun newspaper and a photograph of Punks, there are as many crossover images—postcards of famous art portraits and a Michelangelo on a T shirt—as well as many conventional artworks. Delacroix, Corbert, Rauschenberg, David, Fuseli, and Van Goyen are each featured. Some of the popular images are also historical, such as George Mêlées 1902 classic film Voyage to Moon and advertisements from the1930s.Sometimes the historical material takes up much of the space, with recent developments given only cursory treatment, and sometimes the material is dealt with in ways that seem rather old-fashioned to this reader. For example, Glyn Davis's chapter on photography and film is primarily a potted historical account of the relationships between these two cultural forms and art. Further, Davis does not just describe the arguments for and against their inclusion as art but is clearly engaged with these issues himself, an engagement that many proponents of visual culture would find rather quaint—that is, rather less interesting than the particular contribution that these forms make to contemporary life and for whom the question, "Is it art?" is no longer of any particular interest. This art orientation also colors Davis's view of Hollywood films. Clearly preferring "art" films, he completely ignores the role of popular film in exploring the fears, anxieties, beliefs, and so on of the wider public. By contrast, Richard Williams argues against architecture as a form of art, with its limited concerns with aesthetics, style, and canonical buildings, in favor of architecture as discourse and spatial experience. He is more interested in the reception of architecture than its production—first with architecture as signs, as meanings that are mutable, contingent, and arbitrary; and, secondly, as ordinary urban lived experience, with how architecture is but one element within the experience of urban environments.Typical of the avoidance of technical terms in the book as a whole, Williams beautifully describes the difference between structuralism and poststructuralism without once mentioning either of these terms, and in a chapter on architecture he manages to use the term "postmodern" only once. Similarly, in Neil Mulholland's chapter on representation and realism, cultural border crossing and indigenization are both described, albeit briefly, though without recourse to these terms... (shrink)

There is a speed-accuracy trade-off in perception. The ability to quickly extract sensory information is critical for survival, while extended processing can improve our accuracy. It has been suggested that emotions can change our style of processing, but their influence on processing speed is not yet clear. In three experiments, combining online and laboratory studies with different emotion induction procedures, we investigated the influence of both affective states, manipulated with music, and individual traits in sensory-processing sensitivity on the ability (...) to rapidly segregate two visual flashes. Across studies, the musical manipulations pushed participants towards either rapid or slow processing. Individual variations in sensory-processing sensitivity modulated these effects. Our findings demonstrate that affective states, influenced by music, can shift the balance between fast and slow visual processing, altering our perceptual experience. These results also emphasise the interaction of individual traits in sensory processing and affective states. (shrink)

In a rapidly changing global fashion system, new centres such as Shanghai are joining other cities such as Dubai, Moscow, and Mumbai as global fashion capitals. Street Style is a series that explores and reveals the relationship between culture, the city, and the street fashion. Books in the series use a predominantly visual approach paired with critical analysis, and are inspired by street fashion blogs, magazines, and other fashion incubators such as internet sites. Australian fashion is an up (...) and coming area, moving away from the beach look that is usually associated with Australia into more high fashion pieces. This book takes an academic look at some of the styles seen on the streets of Sydney, a city that may not officially be Australia s capital but is certainly number one in terms of style, culture and fashion. The book is beautifully put together with full colour photos of the stylish and eclectic residents of Sydney. This book would make a beautiful coffee table book or a gift for anyone fashion conscience or interested in travel. Style is predominantly an individual matter the way people put themselves together creates a sense of individual identity, but collectively there is a sense of common culture in a community, a city, or a country.". (shrink)

Recent interdisciplinary research in visual stylometry employs digital image analysis algorithms to study the image features and statistics that underwrite our experience of artworks. This research brings psychologists, computer scientists, and art historians together to explore the formal image qualities that define artistic style. We introduce the field of visual stylometry, discuss it's implications for our understanding of both the nature of categories of art and the role artistic style plays in our engagement with artworks. We (...) then discuss the results of our research employing entropy analyses and discrete tonal analyses to classify paintings by school (Impressionism/Hudson River School) and medium/technique (Wyeth/egg-tempura/watercolor). (shrink)

In The Science of Culture and the Phenomenology of Styles, Renato Barilli examines the history of artistic style in relation to scientific discovery. Applying an innovative analysis, he illustrates the subtle, yet intrinsic, connection between paradigm shifts in the sciences and in the arts. Barilli argues that there are "homologies," or equivalences, between specific discoveries or inventions and revolutionary advances in artistic techniques. He draws upon the pioneering work of Lucien Goldman, who provides the fundamental definition of "homology," as (...) well as the theories of Luciano Anceschi and Marshall McLuhan in order to reassess conventional modes of dividing art history into such periods as modern, contemporary, and postmodern. By correlating moments like the invention of the printing press and the internal combustion engine with canonical periods in the evolution of art, Barilli unearths conceptual links across domains and disciplines. An insightful reflection on the historic perspectives of cultural production, The Science of Culture and the Phenomenology of Styles sheds new light on the relationship between visual culture, art, and language. (shrink)

Experimental research has shown that pairs of stimuli which are congruent and assumed to 'go together' are recalled more effectively than an item presented in isolation. Will this multisensory memory benefit occur when stimuli are richer and longer, in an ecological setting? In the present study, we focused on an everyday situation of audio-visual learning and manipulated the relationship between audio guide tracks and viewed portraits in the galleries of the Tate Britain. By varying the gender and narrative (...) class='Hi'>style of the voice-over, we examined how the perceived congruency and assumed unity of the audio guide track with painted portraits affected subsequent recall. We show that tracks perceived as best matching the viewed portraits led to greater recall of both sensory and linguistic content. We provide the first evidence that manipulating crossmodal congruence and unity assumptions can effectively impact memory in a multisensory ecological setting, even in the absence of precise temporal alignment between sensory cues. (shrink)

Current inter-disciplinarity has rendered it feasible to utilize implements and methodologies to navigate around the communication of fashion at textual as well as material levels, reified by inter-semiotic and cultural translation. Fashion communication, from the perspective of post-translation studies, is a process of cultural translation with visual symbols as its text, visual rhetoric as its core meaning system, and visual stylists as its translator. This study takes one of the most formidable and awe-inspiring icons – the Chinese (...) totem Loong 龙 as the main research object, through the analysis of multifarious styles of visual text structures across the entire process of fashion communication, to deconstruct the semiotic transformation of Loong 龙 by means of visual rhetoric. In forging this rhetorical dynamic within the realm of visual art, the cultural translative procedure is orchestrated primarily through the registers of field, tenor, and mode. Furthermore, it is molded by the intricate interplay of transitivity, mood, and modality, culminating in this newly proposed concept – “cultural functionality” through the lens of systemic functional grammar. This study, by means of this rhetorical, semiotic approach, forays into the profundity of what is named as “Made in China” and showcases Chinese spirit in fashion communication. (shrink)

Marks individually or in combination constitute images that represent objects. How do those images represent those objects? Marks vary in style, both between and within images. Images also vary in style. How do those styles relate to each other and to the objects that those images represent? Referencing a diverse range of images, we answer the first question with a response-dependence theory of image representation derived from Mark Johnston, differentiating Lockean primary qualities of marks from secondary qualities of (...) images. We answer the second question with a perceptual theory of style derived from Paul Grice, differentiating physical style from image style, and representing conventionally from representing conversationally. (shrink)

The ideal path to understanding the philosophical ideas that influence Christian theology. Scott Paeth's fast-paced introduction covers the most important movements and thinkers with precision and clarity. The major ideas are creatively illustrated by artist Joseph Novak, whose crisp, modern style brings big concepts to life for readers. the result is an articulate, no-nonsense approach that guides readers from the ideas of ancient philosophers to contemporary thinkers and movements that impact Christians today.

Normal 0 21 false false false ES-CO X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabla normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Este estudio tiene la intención de profundizar en la estética de la ciencia de la Hemotafonomía (HTN), mediante la identificación de sus pa­­ralelos estilísticos con la Literatura y las Artes Visuales. El (...) objeto de estudio de esta ciencia es la citomorfología de las células sanguíneas en manchas de sangre. Sus sujetos de estudio son especímenes manchados de sangre, mientras que su método de estudio es el análisis de imágenes en claroscuro obtenidas por Microscopía Electró­­nica de Barrido. Literariamente, la HTN es estilísticamente paralela a la estética del Tremendismo y el Deca­­dentismo. Visualmente, la HTN es estilísticamente paralela a la estética de la decoración arquitectónica chu­­rrigueresca y al Tenebrismo pictórico. De acuerdo con los resultados de este estudio, la HTN puede también con­­siderarse estilísticamente como un Realismo literario y un Naturalismo visual. Además, puesto que Tremen­­dismo, Decadentismo, Churrigueris­­mo y Tenebrismo convergen en la cultura del Barroco, debe concluirse que, estéticamente, la HTN es una ciencia barroquista. Normal 0 21 false false false ES X-NONE X-NONE MicrosoftInternetExplorer4. (shrink)

Drawing on recent attempts to critically reconstruct the ideas of Heinrich Wölfflin, this paper argues that there is a specific ‘logic of depiction’ that is distinctive to visual as opposed to verbal forms of representation. The aim is to provide a set of objective parameters that can allow a comparative analysis of the formal organization of pictures despite differences in period, subject matter, format, etc. The paper seeks to show that such an analysis is possible and that it possesses (...) explanatory force. Its frame is a critical engagement with Richard Wollheim's theory of style. Wollheim holds that general style terms are merely tools of classification and that they are relative to the changing point of view of those who seek to understand the art of the past. However, the critical reconstruction of Wölfflin's fundamental concepts aims to identify necessary conditions for visual representation as such. The fundamental concepts function not as taxonomic categories but as ‘limit concepts’ that demarcate a scale of possibilities and thus enable meaningful comparison of artworks. (shrink)

In recent years, more and more mines have been left idle, and the formed mine wasteland has become a visual pollution of the urban landscape, and the study of landscape design of mine parks has become a focal topic. To address this issue, the sample of this study was selected from Xuzhou Anran Mountain Quarry Abandoned Quarry, to enhance the ecological environment and landscape value of the site through the sample's naturalistic style design and performance. The goal of (...) the study is to explore the innovative design and performance of naturalistic style in the landscape of Xuzhou abandoned quarry park. Methods of this study: observation forms, questionnaires and interview forms, relevant cases and other research methods were used to analyse the overview of mine transformation in China, the landscape characteristics, ecological status and problems of Xuzhou mine wasteland. The design strategy of naturalistic style in the landscape of Xuzhou mine park is proposed.The results of the study show that (1) mine rehabilitation. China's big cities have more mine rehabilitation, and the proportion of cases in small cities is relatively small. (2) Characteristic aspects. Abandoned mines in Xuzhou are characterised by serious ecological damage and chaotic and dilapidated site landscapes. (3) Design strategy. It should be carried out from the ecological restoration and management of the site environment, the aesthetic expression of naturalistic landscape, and the use of natural elements and natural materials. In addition, through the in-depth analysis of the sample landscape design, the originally desolate abandoned mine was transformed into a naturalistic style landscape space, adopting ecological and cultural strategies. The results of the study contribute to the ecological and economic development of the region, and also provide theoretical and practical guidance for the rehabilitation of other mines in China. (shrink)