Broad empirical evidence suggests that higher-level cognitive processes, such as language, categorization, and emotion, shape human visual perception. Do these higher-level processes shape human ...perception of all the relevant items within an immediately available scene, or do they affect only some of them? Here, we study categorical effects on visual perception by adapting a perceptual matching task so as to minimize potential non-perceptual influences. In three experiments with human adults (N = 80; N = 80, N = 82), we found that the learned higher-level categories systematically bias human perceptual matchings away from a caricature of their typical color. This effect, however, unequally biased different objects that were simultaneously present within the scene, thus demonstrating a more nuanced picture of top-down influences on perception than has been commonly assumed. In particular, perception of only the object to be matched, not the matching object, was influenced by animal category and it was gazed at less often by participants. These results suggest that category-based associations change perceptual encodings of the items at the periphery of our visual field or the items stored in concurrent memory when a person moves their eyes from one object to another. The main finding of this study calls for a revision of theories of top-down effects on perception and falsify the core assumption behind the El Greco fallacy criticism of them.
Even in particular notable cases - these are, as a rule, those in which that basic idea is less hidden than usual, or those where the desired outcome is, to a much higher degree, present to the ...artist, and determinations made during the creative process become prescriptive rules - the criteria for classification always remain driven by art historical considerations. Yet, as the case of El Greco demonstrates, not even the first freely chosen artistic environment plays that pivotal role (Venice, in this case), as opposed to the one that offers the best space in which to unfurl his artistic talents. ...it is the primary task of art history to uncover the origin of the artist's aesthetic, rather than his empirical, personality. There are many other aspects of our problem worth discussing, but I want to draw your attention to the practical and heuristic value of researching these constants, Previously, we were able to associate an anonymous, non-localized work to a specific school only if we could "derive" it from works created earlier with a firmly established origin, For the opposite approach - attempting to prove that, works with a clearly determined place and time of creation were descended from a work with still undetermined origin - does not warrant the conclusion that such a work is an early example of that same school. After my return from Heidelberg, where I received my appointment right before the Hitler business started but never even had a chance to deliver my inaugural lecture, I have devoted myself to independent research (on late antiquity and Byzantium), since any application for a position in this country would have been futile given the dominance here of the steadily worsening, church-induced antisemitic climate. Since my father is still supporting me, I haven't yet had to work a job that would have taken away from my research time without any benefit to me professionally.
Flannery O'Connor in her seasoned fiction and El Greco in his painting The Burial of the Count of Orgaz (1586-88) demonstrate a newly discovered shared aesthetic: both portray visions of glory as ...fast moving but scenes of life on earth as slow going, if not dead still. While El Greco asserts his individualistic style, embracing the Catholic Counter-Reformation, O'Connor inserts her signature uncanny mystical endings to highlight in stark relief the souls of Mr. Head in "The Artificial Nigger", Mrs. May in "Greenleaf", Mr. Fortune in "A View of the Woods", Ruby in "Revelation", and, in "Parker's Back", Parker.
She Dances Alone Vegas, Víctor; Coombe, Charlotte
World literature today,
09/2021, Letnik:
95, Številka:
4
Journal Article
Recenzirano
Narrated by a chorus of male voices, this story recounts the details of an incident that occurred in a company of only male employees, triggered by the entry onstage of a mysterious woman. With its ...unsettling tone and distinct rhythm, this story is among the best short pieces of noir fiction.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
...the collection of Dvořák's writings was published with a foreword, 'Max Dvořák and the history of feudal art', by Ivan Mácza, and comments by Alexey Sidorov.10 This was not a conventional ...translation into Russian of 'The History of Art as the History of Ideas'. ...the collection was stripped of two lectures: on Dürer's Apocalypse and 'El Greco and Mannerism'. 'Dialectical Mannerism' and the 'Battle for Renaissance' (the 1940s - 1960s) In the post-war period up to Stalin's death (1946 - 1953) Soviet art history, as Anastasia Morozova aptly put it, was confined to the role of a weapon in the Cold War.15 Thus, aesthetic or theoretical issues were brought into the ideological context. Soviet science dwelled on dialectical Materialism (a Marxist adaptation of the Hegelian historical dynamics with emphasis on real-world conditions), which was proclaimed as the official methodology. ...scholarly discourse had to be structured as a triad of thesis, antithesis and synthesis.16 Soviet Scholars focused on the first two elements identified with classical and anti-classical art gradually drifting towards the previously criticized binary oppositions of Wölfflin.
Few other painters of the sixteenth-century speak with such a clear voice to some of the major concerns, if not debates of this particular field of the discipline of Art History: the geography of ...art, for example; the coexistence of diverse and conflicting temporalities within one and the same historical period-in other words, how painters reflected on the relation of their art to the past, and maybe also to their future viewers; and, last but not least, the way artists' mobility in this period challenges the nationalistic burden that shaped art history since it was born as a modern humanistic discipline. El Greco did not only transition across two very different geographies, he also travelled across two worlds that had very different, if not opposite ways to think of the place of the art of painting in relation to the traditions that legitimized its practice: the evangelical fathers for the Cretan icon-painters of the maniera greca, on the one hand; the authority of nature and the legendary traces of a remote, lost, antiquity for his Italian contemporaries, on the other. ...the book compares El Greco's strategy to that of other contemporary painters such as Federico Zuccaro (a painter with whom El Greco did not only come across both in Spain and in Italy, but might have been responsible for giving him a copy of Giorgio Vasari's Lives in whose margins the Greek would later scribble his thoughts). Overall, however, Livia Stoenescu's The Pictorial Art of El Greco is a thoughtful and stimulating introduction to the art of the Cretan artist, filled with intuitive and subtle observations that-meeting the author's promise in the introduction-succeed in presenting El Greco's radical originality, his "extravagant" style as some
The discussion of Tintoretto's use of squaring for establishing figural proportions rather than for direct transfer to a painting is interesting; one example is the Study of a Man with Raised Arms ...(ca. 1562–66, British Museum, London), related to The Finding of the Body of Saint Mark (ca. 1562–66, Pinacoteca di Brera, Milan). Discussion of Tintoretto's large-scale workshop continues in chapter 4, which considers studies dal vivo inserted into compositional studies—for example, Reclining Nude Seen from Behind (ca. 1580, British Museum, London) for the painting of the Resurrection of Lazarus (ca. 1580, Minneapolis Institute of Art)—as well as figures traced from the recto to the verso of a drawing. ...the immediacy of his studies from life, as visible in his Reclining Female Nude (ca. 1590, Metropolitan Museum of Art), is striking.
The identification of painting materials is of essential importance for artistic and scientific analysis of objects of artistic and historic value. In this paper we report a new method and technology ...comprising a) hyperspectral imaging, b) development of spectral libraries corresponding to target materials and c) proper classification strategies with (a) and (b) as inputs. Our findings advocate that the method improves radically the diagnostic potential of visible-near infrared imaging spectroscopy. A system’s approach is implemented by combining a novel hyperspectral camera integrating an innovative electro-optic tunable filter solution with spectral analysis and classification algorithms. A series of pigment material replicas was developed using original methods covering almost the entire palette of Renaissance painters. Hyperspectral acquisition of the constructed pigment panels provided millions of spectra, which were used for both training and validation of a series of spectral classification algorithms, namely: Maximum Likelihood (ML), Spectral Angle Mapper (SAM), Normalized Euclidean Distance (NEUC), Spectral Information Divergence (SID), Spectral Correlation Mapper (SCM) and Spectral Gradient Mapper (SGM). It was found that the best performing algorithm in identifying and differentiating pigments with similar hue but different chemical composition was the ML algorithm. This algorithm displayed accuracies within the range 80.3%–99.7% in identifying and mapping materials used by El Greco and his workshop. The high accuracy achieved in identifying pigments strongly suggest that the new method and technology has great potential for the scientific analysis of artwork and for assisting conservation and authentication tasks.
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