With the emergence of large digitized fine art collections and the successful performance of deep learning techniques, new research prospects unfold in the intersection of artificial intelligence and ...art. In order to explore the applicability of deep learning techniques in understanding art images beyond object recognition and classification, we employ convolutional neural networks (CNN) to predict scores related to three subjective aspects of human perception: aesthetic evaluation of the image, sentiment evoked by the image, and memorability of the image. For each concept, we evaluate several different CNN models trained on various natural image datasets and select the best performing model based on the qualitative results and the comparison with existing subjective ratings of artworks. Furthermore, we employ different decision tree-based machine learning models to analyze the relative importance of various image features related to the content, composition, and color in determining image aesthetics, visual sentiment, and memorability scores. Our findings suggest that content and image lighting have significant influence on aesthetics, in which color vividness and harmony strongly influence sentiment prediction, while object emphasis has a high impact on memorability. In addition, we explore the predicted aesthetic, sentiment, and memorability scores in the context of art history by analyzing their distribution in regard to different artistic styles, genres, artists, and centuries. The presented approach enables new ways of exploring fine art collections based on highly subjective aspects of art, as well as represents one step forward toward bridging the gap between traditional formal analysis and the computational analysis of fine art.
In this article we present research on Slovenian primary school teachers' opinion about the interdisciplinary approach between fine art and science education. With the help of questionnaires, ...interviews, and analysis of lesson plans, we determined how primary school teachers use this type of interdisciplinary approach, how often and what their views are. We included 138 primary school teachers from every region in Slovenia. It turned out that primary school teachers in Slovenia use an interdisciplinary approach between fine art and science teaching quite often and consider it useful to achieve different aspects of pupils' development. The study revealed that most teachers find it difficult to consider the educational goals of both fields (fine art, science). They often use the connection between the subjects only on an associative level - they only mention the teaching content of one subject quickly and carelessly, without making meaningful connections and without achieving the goals of both subjects. Content taught in this way cannot be considered a cross-curricular approach in the subject sense.
The goal of this research is to examine and determine whether the teaching of art studies is realized according to the current curriculum in the primary school grades III and IV grade. The sample ...consists of 214 students and 10 teachers. The research methods selected for deriving relevant conclusions are a descriptive method, theoretical analysis method, historical method, and experimental method. Results obtained through a survey questionnaire, related to the surveyed teachers, about whether they represent fields of art equally in their art classes, are that they answered in the representation of 100%, as well as the majority of students (96.26%) who answered affirmatively to the same question. During the experiment, 80% of students encountered graphics for the first time, so in this case, the answers in the first survey for teachers and students did not match the current situation in the school. In answering the question of what most art classes are about, the majority of students (82.71%) answered drawing, while the remaining 18.69% answered that they usually paint. According to the students, the areas of art are not equally represented in teaching, as shown by the results of a survey conducted among teachers. With this paper, it has been determined that graphics, as an art discipline, even though it is planned by the primary education’s curriculum with an exact number of hours, is not fulfilled or equally represented in the art studies.
Narrativas Ficcionales en Fotografia De Souza e Silva, Rogério; Das Graças de Almeida, Marcelina; Martin Viola, Natalia ...
Cuadernos del Centro de Estudios de Diseño y Comunicación,
05/2023
191
Journal Article
Open access
Los temas abordados en este artículo fueron extraídos de la investigación que derivó en las tesis doctorales “Del instante decisivo al instante continuo: experimentaciones en Bellas Artes desde la ...mobgrafía”
We defend three principal claims concerning natural beauty, artistic beauty and the relation between them. 1) Aesthetic pleasure in nature is typically and paradigmatically occasioned by the spatial ...form of natural kinds. 2) Breaking with a long-standing tradition, Kant claims that the presentation of such beautiful natural forms is not the end of the representational visual arts. Most art presents aesthetically the idea of humanity in our person. This is Kant’s Copernican revolution in the philosophy of fine art. 3) Although the representation of nature is not a sufficient condition of beauty in the representational visual arts, it is nonetheless a necessary condition of it.
This article outlines and considers the emergence of (fine art) Experimental Studies at Brighton Polytechnic in 1971, as part of the art school modernisations after the Coldstream Report of 1960. ...Research, to date, suggests this was the first and maybe the longest-running experimental fine art media course in the UK. The photographic works of artists John Hilliard and Roger Cutforth are discussed as they taught the early years of the course, and Roger Cutforth's work The Non-Art Project (1970-1971), an offsite project and small black and white photobook gives this article its title. The term non-art, as a category in art history is explored along with Information (Kynaston McShine, MOMA 1970), and both are suggested as an important underpinning for the emergence of Experimental Studies, which became Fine Art Critical Practice (FACP) and was run out to form a general fine art course 2020-2022. The end of the paper looks at a particular FACP student degree show from 2015 which resembles some noteworthy curatorial work of Roger Cutforth from 1971. This visual coincidence is taken as a marker - not of deliberate reference, but of a tradition that can still be used with agency and aesthetic purpose by later generations.
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