Los libros y los textos de artista, ya sean individuales o colectivos, parten de un punto común evidente: ambos poseen un carácter textual y una autoría realizada por artistas. No obstante, en sus ...planteamientos conceptuales y en sus resoluciones formales estas dos realidades discursivas presentan diferencias y especificidades que, siendo también muy evidentes, resultan paradójicas. Este hecho se debe a que ambos fenómenos se ajustan a tipologías poliformes. La consecuencia que genera esta circunstancia es la promiscuidad y multiplicidad discursivas que fácilmente se observa tanto en los textos como en los libros de artista. Si en el año 2012 pudimos analizar las tipologías de textos de artista en el volumen Dicho y hecho. Textos de artista y teoría del arte, en estos momentos deseamos plantear este fenómeno en los libros de artista. Ahora bien, estudiar en su conjunto esta realidad es algo que ha sido efectuado recientemente por el profesor Javier Maderuelo en el libro Arte impreso, publicado en 2018. En este pormenorizado estudio el autor realiza un análisis del libro de artista, situándolo dentro de una clasificación más amplia e integral. Esta clasificación es la utilizada en el propio título de su estudio, ya que la misma agrupa toda la diversidad existente dentro del ámbito de edición, autoedición e impresión artísticas. Su indudable aportación hace que el presente artículo no se dirija hacia ese objetivo. Nuestro análisis, por el contrario, desea plantear una cuestión específica del libro de artista. Y hacerlo, además, tomando como referencia dos obras de dos mujeres artistas conceptuales: Esther Ferrer (San Sebastián, 1937) y Fina Miralles (Sabadell, 1950). La cuestión específica aludida se centra en el sentido performativo que suscita el concepto de lectura aplicado al libro de artista. Un concepto que, al ser interpretado desde la corporalidad y la fisicidad, intentamos fundamentar tomando como referencia un planteamiento filosófico que se basa, especialmente, en las aportaciones de Maurice Merleau-Ponty y Jacques Derrida.
Filmische Seitenblicke Hermann Kappelhoff, Christine Lötscher, Daniel Illger / Hermann Kappelhoff, Christine Lötscher, Daniel Illger
2018, 2018-11-19, Volume:
7
eBook
Open access
Did 1968 fail? The question is misstated. For the significance and consequences of ’68 cannot be captured in a coherent narrative. That year appears as the point of culmination of a set of highly ...heterogeneous cultural, social, and political phenomena. Cinema, with its classics and gems to be (re-)discovered, proves to be a kaleidoscope that lets us perceive the fractures and contradictions of ’68.
Cardiovascular diseases are the most important cause of mortality at the present time. Unlike the negative psychological states, a positive psychological state such as happiness, is associated with ...cardiovascular health. The purpose of this study was to examine the effect of happiness training on general health and high sensitivity C-reactive protein (hs-CRP) in coronary patients. This study had an experimental design. 50 coronary patients were randomly selected from patients referring to Isfahan Cardiovascular Rehabilitation Center of Isfahan Cardiovascular Research Center and randomly assigned to two experimental and attention control groups. Measurements were performed in three stages of pre-test, post-test and follow-up from April to September 2018 at the mentioned research center. Instruments included the General Health Questionnaire (GHQ28) and HS-CRP kit. Data were analyzed using, analysis of variance for repeated measures. According to the results, there were significant difference in general health between two groups in favor of the experimental group in measurement stages, but about HS-CRP, despite the positive changes in the experimental group at post-test, there were no significant changes between two groups. Based on the findings, it is probability that positive psychological changes require more time for leading to biological changes. Also, given the positive trends that has been shown in HS-CRP changes, and considering the observed power, it is likely that increasing the sample size in subsequent studies will lead to significant changes in this biomarker.
A great story told by a musician is the basis of the best stage experimentation of the second half of the 20th century. The musician is John Cage, whose work synthesizes the entire system of arts ...within the extraordinary world of the avant-garde. This great story begins with the experimental artistic activities which were developed in the 1920s, consolidated in the thirties and continued through the post-war period up to the dawn of the fifties. Apart from the socio-historical cross-section Cage’s experimentation provides, it is also a pretext for reflecting on the artist’s work as well as the relationship between neuroscience and art. Important contributions to this topic come from the neuro-scientific-social research on new expressions “of creativity, imagination, genius” (Pecchinenda, 2018). This study is based on the assumption that Cage was the forerunner of neuronal experimentation that would be central to the experiments and research of many other artists. The theoretical reference model can be found in the research of the neuroscientist Kandel et al, whose work was the starting point for this investigation. Kandel grasps the definitive break between scientific logic and humanistic sensitivity in the methodological reductionism practiced by neuroscience and in the experiments of contemporary creativity. According to Kandel, both neuroscience and artistic experimentation have similar objectives and problems, and in some respects seem to develop similar methodological practices. Kandel identifies the use of memory, synthesis and knowledge of the world in authors such as Mondrian, de Kooning, Pollock, Rothko, Louis, Warhol as well as the New York school of which Cage was an important member. The relationship between art and neuroscience is synthetized in the avant-garde action of Cage and in all the artists who launched continuous attacks against traditional forms. The transition from figurative art to abstraction is “comparable” to the reductionist process that is used in the scientific field to explain complexity and phenomenology. The prolegomena of this discourse are anticipated by a previous work written by Kandel in 2012 and can also be found in other studies on the relationship between neuroscience and art, in particular in the reflections of the neurobiologist and father of neuroaesthetics, Semir Zeki. Zeki analyzed artists work as a practice perfectly comparable to the research carried out by neuroscientists. Cage, the focus of this investigation, carried out a sound-stage-vision experimentation affecting theatre, media and art which can be examined from at least two different perspectives. The first concerns the definitive subversion of “innate rules of perception” (Kandel) and the second deals with the relationship between art and neuroscience.
We investigated (1) whether the learning environment perceptions of students in classes frequently exposed to multimedia differed from those of students in classes that were not, (2) whether exposure ...to multimedia was differentially effective for males and females and (3) relationships between students' perceptions of the learning environment and student engagement in classes that were exposed to multimedia. The sample involved 365 high-school students in 16 classes, nine that were frequently exposed to multimedia and seven that were not. Two instruments were administered to students: one to assess students' perceptions of the learning environment and another to assess student engagement. There were statistically significant differences between the two groups for all of the learning environment scales, as well as statistically significant interactions between exposure to multimedia and sex for three learning environment scales (Involvement, Task Orientation and Equity). Finally, the learning environment in mathematics classes that involved multimedia was related to student engagement. These results offer potentially important insights into how student exposure to multimedia could promote more positive learning environments and improve student engagement in mathematics. Author abstract
In this groundbreaking collection of critical essays, 15 writers explore the experimental, interdisciplinary and radically transgressive field of contemporary live art in South Africa.
Set against a ...contemporary South African society that is chronologically ‘post’ apartheid, but one that continues to grapple with material redress, land redistribution and systemic racism, Acts of Transgression finds a representation of the complexity of this moment within the rich potential of a performative art form that transcends disciplinary boundaries and aesthetic conventions. The collection probes live art’s intersection with crisis and sociopolitical turbulence, shifting notions of identity and belonging, embodied trauma and loss, questions of archive, memory and the troubling of colonial systems of knowing, an interrogation of narratives of the past and visions for the future.
These diverse essays, analysing the work of more than 25 contemporary South African artists and accompanied by a striking visual record of more than 50 photographs, represent the first major critical study of contemporary live art in South Africa; a study that is as timeous as it is imperative.
Cross-sectional studies of the prevalence of anti-SARS-CoV-2 in representative groups are routinely used for surveillance of public health in Norway. The group of blood donors is easily accessible to ...provide an estimate over the infection prevalence. Repeated testing of returning donors also generates data about the duration of the antibody response following infection and vaccination.
The aim of the current study was to provide updated information about the development of the pandemic in the blood donor population, and to estimate the number of asymptomatic donors visiting the blood center, in an effort to evaluate the measures to prevent virus spreading between donors and staff.
In the two main blood banks in the Oslo area, all blood donors were offered antibody testing for a period of three months. Almost 12,000 donors were tested, and the mean weekly prevalence of antibody positive donors due to infection was 2.7 % (varied from 2.1 to 4.0 %). The number of donors presenting following vaccination was 810 (6.9 %). An average of 38 % of the infections had been asymptomatic, and 31 % of the antibody-positive donors were unaware of having been infected.
In conclusion, the proportion of blood donors seropositive for anti-SARS-CoV-2 in our blood centers was stable whereas the number of vaccinated blood donors rapidly increased. This indicates that the virus spreading in the third wave of infection in the Oslo area mainly happened in groups underrepresented as blood donors. Health care workers prioritized for early vaccination may be overrepresented in the study period.
In the present essay, I want to suggest that the public dimension is a crucial issue in Kaprow’s un-artistic art theory, and that this shift from art to “nonart” literally occurs as a transition from ...private to public: from private contemplation of “complete” paintings to artistic experience publicly performed and shared. Primarily, I will focus on his troubled relationship with painting. Then, I will concentrate on his ground-breaking reflections on framing and unframing. After that, I will analyse his most relevant theoretical achievements, environment and happening, emphasizing the active role of publicity in his personal idea of performance art. Finally, I will discuss his distinctive interpretation of “nonart”, by comparing it with other substantial variations on the “post-art” theme, offered by different authors, either modernist or post-modernist. In the end, the Kaprowian un-artistic theory will emerge re-configured as a singular, and someway “aerial”, utopian proposal for public art.
When the 2020 semester began in the USA in January, it was unimaginable that the near-total closure of educational system across the globe would become the new normal. To mitigate the spread of the ...COVID-19 virus, teaching faculty
hastily converted to an online learning environment in order for instruction to continue. This mixed-methods study used the What Is Happening In this Class? (WIHIC) questionnaire and analysis of student course evaluations to explore
changes in student perceptions of learning environments from before to after the switch to remote learning because of the pandemic. Students perceived a statistically-significant decline in student cohesiveness, teacher support,
involvement, task orientation and equity, with the largest decline of 0.56 standard deviations occurring for student cohesiveness. Qualitative comments illuminated reasons for these declines and suggested ways to mitigate declines in the
future. Author abstract
Opening with an account of print portraiture facilitating Franz Liszt’s celebrity status and concluding with Riot Grrrl’s noisy politics of feminism and performance, this interdisciplinary anthology ...charts the relationship between music and the visual arts from late Romanticism and the birth of modernism to ‘postmodernism’, while crossing from Western art to the Middle East. Focused on music as a central experience of art and life, these essays scrutinize ‘the musicalization of art’ focusing on the visual and performing arts and detailing significant instances of intra-art relations between c. 1840 and the present day. Essays reflect on the aesthetic relationships of music to painting, performance and installation, sound-and-silence, time-and-space. The insistent influence of Wagner is considered as well as the work and ideas of Manet, Satie and Cage, Thomas Wilfred, La Monte Young and Eliasson. What distinguishes these studies are the convictions that music is never alone and that a full understanding of the ‘isms’ of the last two hundred years is best achieved when music’s influential presence in the visual arts is acknowledged and interrogated.
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