In lieu of an abstract, here is a brief excerpt of the content:Museums in Transition:Thoughts from an EmpiricistSean UlmerIn March 2005 Daniel Siedell, curator of the Sheldon Memorial Art Gallery and Sculpture Garden at the University of Nebraska in Lincoln, approached me with an invitation to participate in a symposium for the Journal of Aesthetic Education that he was guest editing. He said that the symposium would be dedicated to curatorial and educational issues and suggested that each of (...) the contributors could use David Carrier's forthcoming book as a starting point for their essays. At that time, I did not know of Carrier's thoughts but had a number of thoughts myself on issues related to curatorial and educational strategies within the museum setting. My experience in a variety of positions in three—now four—institutions had provided me with a number of perspectives about different facets of the museum and its curatorial and educational missions.In Carrier's book, Museum Skepticism, released in May 2006, the author posits a number of thought-provoking observations regarding the birth, evolution, and decline of the museum. Tracing this development from the French Revolution and the opening of the Louvre, through the Isabel Stewart Gardner Museum, the Boston Museum of Fine Arts, Albert Barnes's collection and foundation/museum, and finally the J. Paul Getty Museum, Carrier looks at specific examples to support claims he makes in his intriguing opening and concluding chapters. While there are too many worthwhile observations to explore in great detail here, I will address some of the issues that piqued my interest, coming at the question from a different point of view, that of a working museum professional.Let me begin by stating that I am no theorist. Instead, I am an unapologetic pragmatist.1 My entire career has been shaped by actual work within a museum, seeing the institution—or "organism" as I usually refer to it—from a number of different vantage points.2 These varied experiences have given me the opportunity to see the museum—at least a Kunsthalle, two university museums, and a public museum—from several different vantage points. [End Page 4]In his introductory chapter, Carrier asks his primary question: "What is it like to lead the life of a work of art?"3 This is a very interesting question, and one with which many of us rarely consider in our day-to-day work within the museum's walls. In order to answer the question fully, Carrier suggests that "we need to understand museums."4 Indeed. In actuality, museums (and there are many different types) are just one component that must be considered. For a full consideration of the life of the work of art, one must start with the artist. What were his or her motivations? What was he or she trying to accomplish with the work? How was it first shown? In a gallery? In a museum show? How did the artist intend the work to be shown? What was the role of the patron or commissioner, if there was one? We know that the Catholic Church was an important originator of a number of great works of art and many were destined for church interiors, and some still are in situ. One cannot deny, however, that many of the world's great works of art ("great" simply deemed so by consensus) have found their way into museums. Museums are much more complex beasts than Carrier—or anyone for that matter—can cover within the confines of a single, publishable book. So many factors must be considered, especially when considering today's museums, as they continue to evolve and grow: the role of the collector, the patron, the board, the director, the curator, the education staff, the guards, and the public, to name just a few individuals who require consideration when analyzing museums. Such an interesting mixture of different individuals, each with a unique perspective (and agenda), coming together in one place makes for this complexity. And while the author uses this question of the life of a work of art as a starting point, he finds in the progress of the text a number of other stimulating and thoughtful observations. There is much more contained within... (shrink)

After the destruction of the treasures of the Mosul Cultural Museum in Iraq shown in the Islamic State video released on February 26, 2015, scholars focused their discussion on the inventory of the missing items and the question of how many modern copies were present. A few suggested that the video circulating of the devastation was possibly a montage of items originating from different places. Based on a new photographic database provided by Suzanne E. Bott, a U.S. Reconstruction Advisor (...) in Iraq between 2007 and 2010, this paper shows that some of the artifacts featured in the video were photographed in the small Nergal Gate Museum at the archaeological site of Nineveh. This sets up the problem of identifying objects whose provenance is the Nergal Gate Museum instead of the Mosul Museum. An historical and archaeological analysis of items from the Nergal Gate Museum, both originals and copies, is here carried out in order to highlight the cultural importance of this little-known but significant institution which has been lost forever. (shrink)

The most notable development in public sculpture of the last thirty years has been the disappearance of the sculpture itself. Ever since Jean Tinguely’s Homage to New York destroyed itself at the Museum of Modern Art in 1960, sculptors have tried to find new ways to make the sculptural object invisible, immaterial, or remote. Where the sculpture did have some material presence, it often took unexpected forms. As Rosalind Krauss says, “Rather surprising things have come to (...) be called sculpture: narrow corridors with TV monitors at the ends; large photographs documenting country hikes; mirrors placed at strange angles in ordinary rooms; temporary lines cut into the floor of the desert.”However various these experiments may seem, they began with a single motive: to escape the constraints of the pedestal, the gallery, and finally of art itself. To prevent this new work from becoming just another commodity in the market, artists either produced works so intangible or remote they could not be bought and sold, or disseminated their ideas in so many reproducible forms they could not be monopolized. The political nature of these motives also meant that much of this “sculpture” could be considered “public.” Changing the nature of the art meant changing the role of the audience as well, questioning the purely contemplative role the observer plays in the conventional setting of the museum or gallery. According to Henry Sayre, “As the avant-garde work of art denies its own autonomy, it implicates the audience in its workings.”3 As the aesthetic focus shifts from the object to the experience it provokes, the relationship of the two goes beyond mere implication: the public becomes the sculpture. Artists, like Richard Serra, whose goal is to illuminate the material nature of space and the often tenuous materiality of the observer’s own body, have made “the viewer, in effect, the subject of the work,” to quote Douglas Crimp. Michael North is associate professor of English at the University of California, Los Angeles. He is the author of The Final Sculpture: Public Monuments and Modern Poets and is currently completing a study of the politics of Yeats, Eliot, and Pound. (shrink)

Public art, distinguished from museum-bound art by its integration into communal spaces, engages directly with the broader public. It thrives on a foundational understanding between the artist and the community, often mediated by public leaders who represent the area's cultural and spiritual values. Funded by government resources and shaped under its oversight, public art not only enhances the aesthetic and functional qualities of urban environments but also embodies and reflects collective beliefs and religious symbolism. This study investigates the role (...) of sculptures as religious symbols in public spaces, exploring how such artworks contribute to the creation of "excellent" public places. By examining three major public sites in Dunedin, each hosting distinct sculptural works, this paper delves into the interplay between public art and communal religious identities. It considers how sculptures in public spaces serve not merely as art but as pivotal elements that influence communal spirituality, inclusivity, and engagement. The research aims to uncover how public sculptures, beyond their visual appeal, act as cultural and religious touchstones that enhance and define public spaces, thereby fostering a deeper interaction with the sacred in everyday life. Through this lens, the paper seeks to articulate the nuanced ways in which public art contributes to and shapes the spiritual landscape of public environments, enhancing the vibrancy and purpose of communal areas through the integration of religious symbolism and philosophy. (shrink)

French naturalists at the Muséum Nationale d’Histoire Naturelle in Paris in the early nineteenth century recognized that their individual and collective successes were intimately linked to questions of power over specimens. France’s strength abroad affected the growth of the museum’s collections. At the museum, preserving, naming, classifying, displaying, interpreting, and otherwise deploying specimens went hand in hand with promoting scientific theories, advancing scientific careers, and instructing the public. The control of specimens, both literally and figuratively, was the (...) class='Hi'>museum’s ongoing concern. The leopard in this essay’s title, a live specimen confiscated from the streets of Paris in 1793, serves here to represent the tensions created in an existing order of things by the introduction of a potentially disruptive agent. The essay explores the life of the museum and the interrelations among its naturalists, the special challenges created by the establishment of a menagerie, and the histories of particular specimens and ideas. (shrink)

Brigitte Bourgeois and Philippe Jockey Gold and Marble: the Gilded Hellenistic Sculptures of Delos p. 331-349 The investigation we are conducting on the polychromy of the Hellenistic sculptures of Delos has enabled us to add to the corpus of gilded marble works and to refine the typology. A visual examination of the sculptures through a video-microscope, combined with an analysis of the remains isolated by this means under X-fluorescence, has revealed the existence of three large types of gold leaf gilding (...) on marble at Delos in around 100 BC: totally gilded statues, works on which the gilding forms only an added colouring to the general polychromy, and works that we propose to call "chrysochromes", which present a singularity not hitherto recognised of a very bright polychromy on the clothed parts associated with gold on the nude parts. Among the number of important results of this enquiry may be counted the revelation of the overall gilding on the Delian copy in the National Museum at Athens of the Polyclitus Diadumenus, carved and gilded in imitation of a gilt bronze or even a gold statue. Such a use of gold leaf gilding on the Delos marbles calls in any case for a reconsideration of the question of the reception in antiquity of such works, as well as of such a success of gold at Delos and no doubt elsewhere in the Greek world in the same period. (shrink)

This chapter contains sections titled: A Temple of Apollo Quoting the Roman Garden Villa Harmonic Proportions The Sculptural Program Expanding the Theme of Harmony Notes.

Essays and documents surveying the post-communist architectural scene in the Czech Republic. - 1/ “Wild & Wilder” (1997) – A brief travelogue with comments on Kew Gardens, London, and Mies van der Rohe’s Villa Tugendhat (1930), Brno. 2/ “Angel City” (1999) – A short report on Jean Nouvel’s Golden Angel office tower in Smíchov, Prague. 3/ “Read & Weep: Scandal in Bohemia” (1999) – Essay on post-communist machinations within the architectural scene in the Czech Republic, including reports on: Jean Nouvel’s (...) Angel City and its critics; charges of “lite (postmodern) neo-functionalism” here and there; a cooked “open” competition for a proposed Kupka museum in an old mill on the island of Kampa (in the Vltava); a tourist-dodging transit through Josip Plečnik’s gardens at Prague Castle; and stories and legends regarding the Star Pavilion and oak wood at White Mountain. 4/ “The Body of the City” (2001) – Critique of Richard Meier and Partners’ proposed ECM Radio Plaza, a series of towers meant to complete an unfinished, communist-era “Rockefeller Center” in the Pankrác district of Prague. 5/ “Gnomic Works: The Sculptural Works of Kurt Gebauer” (2002) – Essay on the sculpture of Czech artist Kurt Gebauer with images from his exhibition in Zlín in 2001. 6/ “House of the Wind: May Day” (2004) – Prose poem written on May Day 2004 regarding wandering around Olšanské hřbitovy, a mostly 19th-century cemetery in the Žižkov district of Prague. 7/ “Architectural Eyewash” (2004) – An essay surveying: various complaints within the Czech architectural community regarding an outbreak of “architectural eyewash” in the 2004 Chamber of Architects’ Grand Prix competition; rumors and innuendo regarding a proposed Kupka museum on Kampa; complaints about Daniel Libeskind’s proposed Dalí House, Prague; etc. 8/ “Moravian Shadows” (2004) – Essay on “cultural shadows” in the context of Czech architecture, with a nod to Nietzsche's The Birth of Tragedy. 9/ The Near & The Far: Moravian Garden (2006) – Notes and discursuses on a very small, yet “immense” South Moravian country garden in Skryje, Czech Republic. (shrink)

The paper offers a critical appreciation of sand in the Japanese tradition of karesansui 枯山水gardens. At first, sand is approached from a phenomenological standpoint, then described in relation to the Daoist ideals of “blandness” (dan 淡) and its original function in Shinto shrines. The following sections draw an East-West comparison between the sand garden at Ginkaku-ji 銀閣寺 and the sand sculptures by the Basque artist Andoni Bastarrika, and between the sand garden at Shisen-dō 詩仙堂 and the Renaissance (...) class='Hi'>garden at Villa di Castello. The main purpose is to illustrate the philosophical significance of sand in respect to the aesthetic expression of such Buddhist-influenced notions as ku 空 (“emptiness”), yuge 遊戲(“play”), kire-tsuzuki 切れ続き(“cut-continuance” or “dis/continuity”) and the dialectic of conventional and ultimate reality. (shrink)

ABSTRACT This essay examines the exhibition of dinosaurs at the American Museum of Natural History during the first two decades of the twentieth century. Dinosaurs provide an especially illuminating lens through which to view the history of museum display practices for two reasons: they made for remarkably spectacular exhibits; and they rested on contested theories about the anatomy, life history, and behavior of long-extinct animals to which curators had no direct observational access. The American Museum sought to (...) capitalize on the popularity of dinosaurs while mitigating the risks of mounting an overtly speculative display by fashioning them into a kind of mixed-media installation made of several elements, including fossilized bone, shellac, iron, and plaster. The resulting sculptures provided visitors with a vivid and lifelike imaginative experience. At the same time, curators, who were anxious to downplay the speculative nature of mounted dinosaurs, drew systematic attention to the material connection that tied individual pieces of fossilized bone to the actual past. Freestanding dinosaurs can therefore be read to have functioned as iconic sculptures that self-consciously advertised their indexical content. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Images >> Good HopeCarla Liesching Click for larger view View full resolution[End Page 111]Carla Liesching is an interdisciplinary artist working across photography, writing, collage, sculpture, bookmaking, and design. Grounded in experiences growing up in apartheid South Africa, she considers the intersections of representation, knowledge, and power, with a focus on colonial histories and enduring constructions of race and geography. Carla's ongoing project, Good Hope, was published by MACK (...) in 2021, and was shortlisted for the 2022 Aperture Paris Photo First Book Award, and the Arles 2022 Prix du Livre in the Photo-Text Category. An excerpt from Good Hope is also featured in On Whiteness, by SPBH Editions. Carla was a 2021 winner of the Open Walls Arles competition presented by The British Journal of Photography and exhibited work during Rencontres d'Arles Festival in 2021 and 2022. She is a 2021 Light Work Grant recipient and the 2022 recipient of the Silver Eye Fellowship, culminating in a photo-sculptural installation at Silver Eye Center for Photography in Pittsburgh. Carla was recently named a Foam Talent, with exhibitions at Foam Museum in Amsterdam, the Deutsche Börse Foundation in Frankfurt, along with a solo exhibition of Good Hope through PhMuseum in Bologna. Carla lives between South Africa and Ithaca. In Ithaca, she works as Visiting Critic in Cornell University's Art Architecture and Planning Department; as Lecturer in the Art, Art History and Architecture Department at Ithaca College; as faculty at the International Center of Photography; and as coordinator of the School of Criticism and Theory at Cornell. As part of her socially engaged practice, Carla is also a youth educator focused on image-making, visual literacy, and self-publishing as vehicles for expression and empowerment. [End Page 112] Click for larger view View full resolution'As soon as you are in a proper stage of defence you shall search for the best place for gardens, the best and fattest ground in which everything planted or sown will thrive.' Click for larger view View full resolution—Instructions from the Dutch East India Company inscribed on a yellowing sheet of parchment, 1651.1[End Page 113] Click for larger view View full resolution Click for larger view View full resolution[End Page 114]iYes, there are facts and figures to account for, timelines to trace, but have I told you of today's newspapers? Headlines like: 'Land Justice', 'Expropriation without Compensation', 'Revolution or Reform?' Have I told you of the monuments removed in the 'riots'? Or the groundsmen in green overalls scrubbing graffiti, repairing broken fountains, collecting debris? Black men White bosses still call 'boys'? Have I told you of the doves cooing gently, perched atop the sleeping bodies of migrant families on the lawns? Have I told you of the White children from the Cape of Good Hope Seminary dressed in their afternoon 'civilian clothes'? Or of the more racially integrated group from Mseki High in their grey-and-turquoise uniforms surrounding me on the main steps leading to the garden? The cacophony of lunch-time chatter, chip packets crinkling, the flap-flap of wings as seagulls scavenge for tasty morsels? Have I told you of the signs pointing to the Scientific Pleasure Garden? Or of the gift store filled with locally sourced flower oils, handmade candles, Delft-blue china tea-sets and postcards depicting the early colony? And what of Cecil John Rhodes cast in greening bronze, flanked by a Madagascar Cycad and a Queen Palm, announcing: Your Hinterland is There? Have I told you of the small rock in the corner of the vegetable garden with a label hidden beneath weeds? The arrival of the Dutch to establish a refreshment station, providing fresh produce for the ships plying the spice route, marked the end of a free and independent existence for the native Gorinhaiqua Khoikhoi. And what of the large label at the stone-walled entrance? A story of how a garden in 1654 brought together continents and affected the course of history. A story of how plants in the form of pepper, nutmeg, cloves and cinnamon changed the world economy. Have I told you the garden is the cause of it all? [End... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Art of Teaching in the MuseumRika Burnham (bio) and Elliott Kai-Kee (bio)A class is studying a small painting by Rembrandt in the galleries of the J. Paul Getty Museum in Los Angeles. The museum educator has been inviting the assembled visitors to look ever more closely, guiding the class toward an understanding both of the painting itselfand of our reasons for studying it. The class has (...) been anything but passive—indeed, it has been lively. The painting is The Abduction of Europa (1632), a picture that depicts in delicate detail a story from Greek mythology, the kidnapping of the Phoenician princess Europa by Zeus in the guise of a white bull. The visitors have shared their observations, speculations, ideas. As the class concludes, the museum educator asks the participants to speculate on the painting's larger meaning, to say what they think this work is, finally, about, as revealed by their long discussion. The group's experience has clearly moved beyond the telling of a single story. One participant suggests that Rembrandt's work is about the fearlessness of traveling into the unknown. Another says that it concerns the story of the soul's leaving the earthly for the heavenly realm. When the class comes to an end, people move closer to the painting and continue their discussions.In the same museum, another museum educator is also conducting a group of students through the galleries. He begins with a Roman statue of Venus, followed by an eighteenth-century French terra-cotta bust of Madame Récamier by Joseph Chinard. For each sculpture, he asks the students to focus on only one detail, the hands. The students are encouraged to observe and take note of the sculpted figures' gestures, much as if they were studying a person. Time seems to slow as perception sharpens. The educator listens patiently as the students begin to "read" the sculptures as a whole through the expressiveness of the hands. The group moves on to a mysterious portrait by Millet in which the students discuss the nature of love, and [End Page 65] then to a painting of a Russian princess by Winterhalter, in which the artifice of all the details is suddenly theatrical, dazzling, and delightful. At the end, no one wants to leave.As museum educators we teach in many kinds of programs, and teach in many ways. Every museum educator brings unique gifts to the art of teaching through works of art. The two classes described above might seem at first glance quite different. The first museum educator stays with a single work of art for the entire session, constructs her class around the observations and ideas of the students, and trusts that through their collective experience, a larger meaning will emerge. The second educator inspires his students with a feeling of confidence by guiding their observations of a single feature common to several works, and then allows a main idea to emerge. The two classes, however, are also alike in certain essential ways. In both cases, the students and the instructor are animated, concentrated, focused, and active. Their investigation is tightly focused on the works under discussion, and the group together reaches for a sense of the artworks as a whole. At the end, when the participants cluster around the works of art, still wanting to continue the experience of discovery, the instructors know that theirstudents have understood that engagement with a work of art is a beginning, not an end.The opportunities museum educators have to teach and learn are granted to us by the collections of objects in the care of the institutions in which we work, and by the students and visitors we invite to consider these objects. These artworks also impose upon us a great obligation, to bring them alive for those we lead through the galleries. For ultimately, it is our devoted attention that keeps artworks alive generation after generation.This essay is the result of our work as museum educators. It began with a casual discussion about what constitutes good teaching, and what we can do to guide ourselves and our docent colleagues toward consistent and principled teaching in our museums. We... (shrink)

The Japanese dry landscape garden has long attracted—and long baffled—viewers from the West. While museums across the United States are replicating these "Zen rock gardens" in their courtyards and miniature versions of the gardens are now office decorations, they remain enigmatic, their philosophical and aesthetic significance obscured. _Reading Zen in the Rocks_, the classic essay on the _karesansui_ garden by French art historian François Berthier, has now been translated by Graham Parkes, giving English-speaking readers a concise, thorough, and (...) beautifully illustrated history of these gardens. Berthier's guided tour of the famous garden of Ryoanji in Kyoto leads him into an exposition of the genre, focusing on its Chinese antecedents and affiliations with Taoist ideas and Chinese landscape painting. He traces the roles of Shinto and Zen Buddhism in the evolution of the garden and also considers how manual laborers from the lowest classes in Japan had a hand in creating some of its highest examples. Parkes contributes an equally original and substantive essay which delves into the philosophical importance of rocks and their "language of stone," delineating the difference between Chinese and Japanese rock gardens and their relationship to Buddhism. Together, the two essays compose one of the most comprehensive and elegantly written studies of this haunting garden form. _Reading Zen in the Rocks_ is fully illustrated with photographs of all the major gardens discussed, making it a handsome addition to the library of anyone interested in gardening, Eastern philosophy, and the combination of the two that the _karesansui_ so superbly represents. Praise for the French edition: "A small book of rare depth, remarkably illustrated, on one of the most celebrated and beautiful rock gardens of the monasteries of Kyoto."—_L'Humanité_ "Through _Le Jardin de Ryoanji_, Berthier teaches us to read the zen in the rocks, to discover the language offered by the garden at Ryoanji. Enigmatic, poetic, and disconcerting, an enriching journey through a work of art of surprising modernity, _Le Jardin de Ryoanji_ is a work that will interest all the amateurs of Japanese art and Eastern philosophy."—_Lien Horticole_. (shrink)

A marble fragment of a draped female figure came to the University of Oxford as part of the James Dawkins collection of marbles, presented by his brother Henry sometime between the owner's death in 1759 and the publication ofMarmora Oxoniensiain 1763. The collection was formed during Dawkins's expedition to Palmyra with Robert Wood between 1750 and 1753. Of the other seven sculptures in it, three came from Attica, one from Caria, one from Cyzicus and two are of unknown provenance. Our (...) statue seems to have received little attention since Michaelis saw it. It is now mounted on a limestone base bearing the number 63. (shrink)

The notion that it is possible to construct intelligent machines out of nonorganic material is as old as Greek mythology. Vulcan, the lame god of fire, fabricated young women out of gold to assist him in his labours. He also made the bronze giant Talus, who guarded the island of Crete by running around it three times a day and heaving huge rocks at enemy ships. A single vein of ichor ran from Talus's neck to his heels. He bled to (...) death when he was wounded in the ankle or, according to another myth, when a brass pin in his heel was removed. (shrink)

What, if anything, is aesthetically distinctive about sculpture? Some think that sculpture differs from painting in being a specially tactile art. Different things might be meant by this, but it is anyway unhelpful to focus on our means of access to sculpture’s aesthetic properties, rather than those properties themselves. A more promising idea is that, while painting provides its own space, sculpture exists in the space of the gallery. To pursue this thought, I expound and develop (...) the views of Susanne Langer. Sculpture organizes the surrounding space when we see that space as defined by the potential for action of the sculpted object. (shrink)

This reference essay addresses how sculpture may be defined, the nature of sculptural representation and content, the distinctive forms of tactile and bodily experience to which sculpture can give rise, and the ontology of sculpture. It addresses both sculptures whose form is largely fixed and contemporary sculptural practices incorporating found objects and variable presentation.

This thesis first introduces the basic principles of model-based image sequence coding technology, then discusses in detail the specific steps in various implementation algorithms, and proposes a basic feature point calibration required in three-dimensional motion and structure estimation. This is a simple and effective solution. Aiming at the monocular video image sequence obtained by only one camera, this paper introduces the 3D model of the sculpture building into the pose tracking framework to provide initial depth information. The whole posture (...) tracking framework can be divided into three parts, namely, the construction of the initial sculpture model, the posture tracking between frames, and the robustness processing during continuous tracking. In order to reduce the complexity of calculation, this paper proposes a new three-dimensional mesh model and a moving image restoration algorithm based on this model. At the same time, the influence of the intensity and direction factors in the scene is added, the simulation results are given, and the next step is discussed. The optimization work that needs to be done. (shrink)

This paper introduces an innovative curricular approach—the Health Humanities Portrait Approach —and its pedagogical tool—the Health Humanities Portrait. Both enable health professions learners to examine pressing social issues that shape, and are shaped by, experiences of health and illness. The Portrait Approach is grounded in a set of “critical portraiture” principles that foster humanities-driven analytical skills. The HHP’s architecture is distinctively framed around a pressing social theme and utilizes a first-person narrative and scholarship to explore how the dimensions of the (...) personal and the structural are mutually constituted. We argue that when creator-educators adopt the Portrait Approach and its critical portraiture principles to design and teach the HHP, they enable learners to become proficient in synthesizing and analyzing—with both depth and breadth—the human and social dimensions of patients’ lives. This inventive curricular intervention provides a needed contribution to health professions education in that it utilizes health humanities methodologies to elucidate the multiple aspects of health, illness, disability, and healthcare. (shrink)

Accompanying an exhibition organized by the Whitney Museum of American Art, New York, this book is the most comprehensive catalogue on the work of this internationally recognized architectural firm.

BackgroundDespite rapid growth of the scientific literature, no consensus guidelines have emerged to define the optimal criteria for editors to grade submitted manuscripts. The purpose of this project was to assess the peer reviewer metrics currently used in the surgical literature to evaluate original manuscript submissions.MethodsManuscript grading forms for 14 of the highest circulation general surgery-related journals were evaluated for content, including the type and number of quantitative and qualitative questions asked of peer reviewers. Reviewer grading forms for the seven (...) surgical journals with the higher impact factors were compared to the seven surgical journals with lower impact factors using Fisher’s exact tests.ResultsImpact factors of the studied journals ranged from 1.73 to 8.57, with a median impact factor of 4.26 in the higher group and 2.81 in the lower group. The content of the grading forms was found to vary considerably. Relatively few journals asked reviewers to grade specific components of a manuscript. Higher impact factor journal manuscript grading forms more frequently addressed statistical analysis, ethical considerations, and conflict of interest. In contrast, lower impact factor journals more commonly requested reviewers to make qualitative assessments of novelty/originality, scientific validity, and scientific importance.ConclusionSubstantial variation exists in the grading criteria used to evaluate original manuscripts submitted to the surgical literature for peer review, with differential emphasis placed on certain criteria correlated to journal impact factors. (shrink)

This essay explores “sculptural plasticity” through neuronal matterings of the brainbody in philosophy, literature, and art. It focuses on Socrates’s cataleptic condition as evidenced in Plato’s Symposium, the plasticities at work in Jean-Paul Sartre’s Nausea, and morphogenetic acts of cell formation in the sculptural installation of Pierre Huyghe’s After ALife Ahead.

This article is first within the Russian and Western art history to examine the concept of visual poetics as a separate subject of research. Based on the analysis of iconographic and theoretical searches of the masters of symbolism, which found reflection within the boundaries of expressive means of visual art, the author comes concludes on the poetic principles of symbolist artists as the fundamental sources of the formation of the style of Art Nouveau – a new sculptural language of the (...) XIX – early XX centuries. Detail characteristic of the philosophical-aesthetic content that underlies optical forms of the visual symbolist image, in its scientific origins leans on the capabilities of the art comparative-formal analysis, as well as iconological method adapted to the period under review. The innovative conceptual approach towards studying the art of symbolism lies in the fact that poetry as the concept is depicted beyond the literary sphere, as a specific type of artistic worldview that influenced the development of the visual language of art in the era of Art Nouveau. At the same time, visual poetics is compared to the complex system of internal images, which shape in with the works of the master throughout the entire path of his self-expression, and are directly related to profoundness of the poetic principle of the soul, lyrical and metaphorical intuition of the artist. This approach allows us broadening the representation on the aesthetic benchmarks of the symbolist artists, as well as designating the new methodological coordinates in the field of studying the art of symbolism in both national and international contexts. (shrink)

This volume comprises ten essays at the cutting edge of thinking about sculpture in philosophical terms, representing approaches to sculpture from the perspectives of both Anglo-American and European philosophy. Some of the essays are historically situated, while others are more straightforwardly conceptual.

Văn khắ c Chămpa tại Ba̓ o tàng ̃ Điêu khắ c Chăm–Đà Nă ̃ ng. The Inscriptions of Campā at the Museum of Cham Sculpture in Đà Năng. By Arlo Griffiths, Amandine Lepoutre, William A. Southworth, and Thành Phn. Published in collaboration between École française d’Extrême-Orient, Hanoi, and Center for Vietnamese and Southeast Asian Studies, University of Social Sciences and Humanities, Vietnam National University H̀ô Chí Minh City. H̀ô Chí Minh: VNUHCM Publishing House, 2012. Pp. 288, 67 (...) pl., 38 photos. VND 170.000. (shrink)