Zeitschriftenartikel: „Consciousness in art“

1

Humphrey, Nicholas. „Consciousness As Art“. Scientific American Mind 26, Nr. 3 (09.04.2015): 64–69. http://dx.doi.org/10.1038/scientificamericanmind0515-64.

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Sontag, Susan, Bonnie Marranca und Gautam Dasgupta. „Art and Consciousness“. PAJ: A Journal of Performance and Art 27, Nr. 2 (Mai 2005): 1–9. http://dx.doi.org/10.1162/1520281053850820.

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3

Ascott, Roy. „Art, Technology and Consciousness“. Convergence: The International Journal of Research into New Media Technologies 4, Nr. 3 (September 1998): 110–13. http://dx.doi.org/10.1177/135485659800400315.

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4

Ascott, Roy. „Art, consciousness and artificial life“. Artificial Life and Robotics 3, Nr. 3 (September 1999): 176–80. http://dx.doi.org/10.1007/bf02481136.

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5

Ascott, Roy. „Consciousness reframed: Art and consciousness in the post‐biological era“. Digital Creativity 9, Nr. 1 (Januar 1998): 5–6. http://dx.doi.org/10.1080/14626269808567099.

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6

Mamakos, Christina, und Petros Stefaneas. „Consciousness reframed: Art and consciousness in the post-biological era“. Technoetic Arts 14, Nr. 3 (01.12.2016): 169–76. http://dx.doi.org/10.1386/tear.14.3.169_1.

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Kurg, Regina-Nino. „Aesthetic consciousness of site-specific art“. South African Journal of Philosophy 32, Nr. 4 (02.10.2013): 349–53. http://dx.doi.org/10.1080/02580136.2013.865098.

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8

Ascott, Roy. „Planetary Technoetics: Art, Technology and Consciousness“. Leonardo 37, Nr. 2 (April 2004): 111–16. http://dx.doi.org/10.1162/0024094041139265.

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As the planet becomes telematically unified, the self becomes dispersed. The convergence of dry silicon pixels and biologically wet particles is creating a moistmedia substrate for art where digital systems, telematics, genetic engineering and nanotechnology meet. A technoetic aesthetic not only will embrace new media, technology, consciousness research and non-classical science but also will gain new insights from older cultural traditions previously banished from materialist discourse. In the present post- 9/11 crisis, collaborative transdisciplinary research is needed if a truly planetary culture is to emerge that is techno-ethical as well as technoetic.

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Guard, Julie, D’Arcy Martin, Laurie McGauley, Mercedes Steedman und Jorge Garcia-Orgales. „Art as Activism“. Labor Studies Journal 37, Nr. 2 (05.01.2012): 163–82. http://dx.doi.org/10.1177/0160449x11431895.

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Popular theater has significant, although largely overlooked, potential as a tool for unions to raise members’ political consciousness and strengthen their relationship to the union movement. Activist theater validates workers’ own knowledge, builds workers’ solidarity and self-confidence, and fosters an activist culture. It can also raise gender consciousness within unions. It has particular value for unions attempting to organize precarious workplaces such as call centers, where workers are especially vulnerable and often unfamiliar with unions and union culture. The experience of one group of workers demonstrates how popular theater can be integrated into the labor movement’s repertoire of strategies for building solidarity and revitalizing unions.

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Gupta, Sunita. „ART, ARTISTS AND CONDOLENCES“. International Journal of Research -GRANTHAALAYAH 7, Nr. 11 (30.11.2019): 277–80. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3753.

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English: Beauty, love, sensation, feeling and consciousness are social rites. With the continuous development of the developing living beings, they also evolved, rising above the category of human, monkey and forest man and became great human beings. His mind, mind, aesthetic consciousness and love continued to develop on the strength of his intellect and is still happening today. Man has always been a necessity of society and due to the desire for sociality, he has an attitude of love and love. Charles Darwin has accepted aesthetic consciousness even among non-human beings, but aesthetic consciousness is limited to sexual sensation only. Man has given aesthetic consciousness control from senses due to cultural and sociality. In terms of ray sensation, there are two types of organisms - one that attracts sunlight such as kitesurf, etc. and those who find the sunlight repellent like owl, chali etc. This difference is due to the anatomy of the animal and different types of senses. On the basis of this variation, other dimensions and aspects of the aesthetic consciousness of beings depend. Due to the characteristic of eye-brain relationship in humans, there is a difference in thinking towards beauty. The more aware, active and capable the mind is, its beauty-consciousness is sharp and sharp. Mahakavi Bihari has considered it a distinction- Hindi: सौन्दर्य, प्रेम, संवेदना, अनुभूति और चेतना आदि सामाजिक संस्कार है। विकासशील चैतन्य प्राणी के निरन्तर विकसित हाने से इनका भी विकास हुआ मानव,वानर और वनमनुष्य की श्रेणी से ऊपर उठकर महामानव बन गया। उसका मन, मस्तिष्क, सौन्दर्य चेतना और प्रेम निरन्तर उसकी बुद्धि के बल पर विकसित हुए और आज भी हो रहे हैं। मनुष्य को समाज की सदैव आवश्यकता रही और सामाजिकता की आकांक्षा के कारण ही उसमें सौन्दर्य प्रिय और प्रेम की वृत्ति होती है। चार्ल्स डार्विन ने मानवेतर प्राणियों में भी सौन्दर्य चेतना को स्वीकार किया है लेकिन उनमें सौन्दर्य चेतना केवल यौन-संवेदना तक सीमित है। मनुष्य ने सांस्कृतिकता एवं सामाजिकता के कारण सौन्दर्य चेतना को इन्द्रियों से नियन्त्रित धरातल दिया है। किरण संवेदना की दृष्टि से जीव दो प्रकार के होते हैं-एक वे जिन्हें सूर्य का प्रकाश आकर्षित करता है जैसे पतंगा चातक आदि दूसरे वे जिन्हें सूर्य का प्रकाश विकर्षक लगता है जैसे उल्लू, चाली आदि। यह भिन्नता प्राणी की शरीर रचना और इन्द्रियों के भिन्न प्रकार से निर्मित के कारण होती है। इसी भिन्नता के आधार पर प्राणियों की सौन्दर्य चेतना के अन्य आयाम और पक्ष निर्भर करते हैं। मनुष्य में नेत्र-मस्तिष्क सम्बन्ध की विशेषता के कारण सौन्दर्य के प्रति सोच में अन्तर आ जाता है। मस्तिष्क सौन्दर्य के प्रति जितना अधिक सजग, सक्रिय एवं समर्थ होगा, उसकी सौन्दर्य-चेतना उतनी ही तेज एवं प्रखर होती है। महाकवि बिहारी ने इसे भेद माना है-

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Nefedova, L. K. „MODEL OF INTERACTION BETWEEN RELIGION AND ART: ONTOLOGICAL COMPARATIVE OF RELIGION AND ART“. Review of Omsk State Pedagogical University. Humanitarian research, Nr. 32 (2021): 27–32. http://dx.doi.org/10.36809/2309-9380-2021-32-27-32.

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The correlate of religion and art is considered from the standpoint of their belonging to the forms of social consciousness, allowing one to reveal the identity of their structure. The model of the religious complex that has developed in the philosophy of religion, including consciousness, activity, relationships, organization, is extrapolated to the phenomenon of art. On this basis, an ontological comparative of religious and artistic consciousness, activity, relations, and organization is presented. These components of the structure are the points of interaction of phenomena, determining the spectrum of relations between religion and art that has developed in culture: determination, integration, complementation, dominance, cooperation. The proposed methodological approach clarifies the onto- and gnosiological platform for understanding the correlate of religion and art and has the potential to systematically clarify aspects of the interaction of religion and art, both in philosophical and in private scientific knowledge.

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Keski-Korsu, Mari. „On the edges of consciousnesses: Messaging between species“. Technoetic Arts 20, Nr. 1 (01.07.2022): 39–50. http://dx.doi.org/10.1386/tear_00080_1.

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Consciousness is often defined as an experience of the world, but its definitions vary and stir up controversy. It is described through the vocabulary of philosophy, psychology, neuroscience and spirituality, to name but a few fields. Other-than-human consciousness has long been considered non-existent, a notion that has only recently changed as other-than-humans have been found to possess consciousness and a capacity for intentional behaviour (Low 2012: 2). This article presents perspectives on interspecies communication to propose that various species have consciousness and that communication between human and other-than-human consciousnesses is possible. My research aims to investigate the concept of consciousness and intuitive interspecies communication by experimenting methods within artistic practice that can foster a more profound understanding of human and other-than-human relations. I use art projects as artistic case studies to substantiate my hypothesis of consciousness being an essential connection for intuitive interspecies communication.

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Krivtsun, Oleg A. „NATURAL SCIENCES CONSCIOUSNESS AND LANGUAGE OF ART“. Articult, Nr. 4 (2017): 153–55. http://dx.doi.org/10.28995/2227-6165-2017-4-153-155.

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14

Punt, Michael. „A Speculative Bibliography of Art and Consciousness“. Convergence: The International Journal of Research into New Media Technologies 4, Nr. 3 (September 1998): 114–15. http://dx.doi.org/10.1177/135485659800400316.

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15

Ascott, Roy, und Michael Punt. „A Specialist Bibliography of Art and Consciousness“. Convergence: The International Journal of Research into New Media Technologies 4, Nr. 3 (September 1998): 116–33. http://dx.doi.org/10.1177/135485659800400317.

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16

Galanti, Geri-Ann. „States of Consciousness and Rock/Cave Art“. Anthropology of Consciousness 9, Nr. 1 (März 1998): 1–2. http://dx.doi.org/10.1525/ac.1998.9.1.1.

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17

DANTO, ARTHUR C. „Art, Evolution, and The Consciousness of History“. Journal of Aesthetics and Art Criticism 44, Nr. 3 (01.03.1986): 223–34. http://dx.doi.org/10.1111/1540_6245.jaac44.3.0223.

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18

Danto, Arthur C. „Art, Evolution, and the Consciousness of History“. Journal of Aesthetics and Art Criticism 44, Nr. 3 (1986): 223. http://dx.doi.org/10.2307/429732.

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Tsereteli, Asmat. „Media as Art and Art as Media (Magazines: “Theatre”, “Aril”, “Art in America”, “ARTFORUM”)“. Works of Georgian Technical University, Nr. 1(531) (22.03.2024): 29–38. http://dx.doi.org/10.36073/1512-0996-2024-1-29-38.

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Media and culture, two influential and important spheres of public life, have a long history of coexistence. There is no media art and no art without media. It is especially important to research the forms of impact on the formation of public consciousness in these areas, as well as the results. British media theorist Dennis McQuail in his work Journalism and Society notes that all theories that study the relationship between media, culture, and society, despite conceptual differences, agree that the media can serve to liberate and unify society, as well as to fragment and divide it – both development, advancement and retreat. Despite a kind of indeterminacy, the media, which shapes and reflects society, is the main message about society. (McQuail, 1992) Culture and art are a fundamental part of public life, which creates values, develops and strengthens public relations, together with the media, forms public consciousness. “Political confrontations and wars do not cause a cultural crisis, but, on the contrary, incompatibility, aggression and wars are the result of a cultural crisis” - this conclusion of European researchers is a kind of postulate, which says everything about the role of culture in the process of improving society.

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Zhang, Aixin. „The Neglected Place of “Totems” in Contemporary Art“. Religions 14, Nr. 6 (19.06.2023): 810. http://dx.doi.org/10.3390/rel14060810.

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The religious nature of Joseph Beuys’ works was ignored or intentionally avoided by mainstream criticism since his artistic practice was ridiculed for its potential spirituality. It is argued that Beuys’ works are work meditations on the issues of potential ego in totemic art, which are frequent topics of theological concern. For example, what is the nature of our consciousness after death, and how does it relate to the consciousness of others? Beuys’ conceptual artworks reveal his engagement with the “witchcraft etiquette” of totemic art and his exploration of theological questions such as the relation between human consciousness and divinity, the role of sacrifice and resurrection, and the meaning of self-awareness. In other words, we can draw inspiration from the theological theories of Alfred North Whitehead and Georg Wilhelm Friedrich Hegel to examine Beuys’ choice of conceptual art through the lens of his deep self-consciousness of totem worship. In general, Beuys’ works pose an important question: how can we awaken our chaotic consciousness to new or forgotten sprouts which may rejuvenate our existence in the world?

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Azevedo, Ge, und Y. S. Filippovich. „How art therapy supports development of self-consciousness“. Collection of humanitarian researches, Nr. 3(24) (29.09.2020): 18–23. http://dx.doi.org/10.21626/j-chr/2020-3(24)/3.

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As a therapeutic tool, art is a way to develop reflexive self-awareness. We suggest that to establish a link between art-therapy and the advancement of self-consciousness is a necessity taking into account that consciousness compounds of awareness of one’s body and one’s environment. Then we can regard self-awareness as recognition of consciousness. We suggest that a human body plays a key role in the process of conscious experience and that art can refine this process, increasing the awareness of self and others.

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Kriegel, Uriah. „Consciousness as Intransitive Self-Consciousness: Two Views and an Argument“. Canadian Journal of Philosophy 33, Nr. 1 (März 2003): 103–32. http://dx.doi.org/10.1080/00455091.2003.10716537.

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The word ‘consciousness’ is notoriously ambiguous. This is mainly because it isnota term of art, but a mundane word we all use quite frequently, for different purposes and in different everyday contexts. In this paper, I am going to discuss consciousness in one specific sense of the word. To avoid the ambiguities of the word ‘consciousness,’ I will introduce a term of art:intransitive self-consciousness.As the term suggests, the phenomenon I have in mind is a kind of self-consciousness, or self-awareness.

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Burger, W. „Breyten Breytenbach se Boek: die taal (poësie) as voelinstrument om bewussyn te verken“. Literator 26, Nr. 3 (31.07.2005): 1–22. http://dx.doi.org/10.4102/lit.v26i3.234.

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Breyten Breytenbach’s Boek: language (poetry) as feelinginstrument to explore consciousness One of the big questions of science is the mystery of consciousness. How is it possible that a state of consciousness, an awareness of your own being and actions, can originate from matter, from the movement of neurons in nerve tissue? While neuroscience does not have answers to these questions (yet), the subjective exploration of consciousness by means of works of art, could make a valuable contribution. Breyten Breytenbach explicitly views his art (writing and painting) as ways to investigate consciousness. In “Boek” (1987) Breytenbach explains his views on art. In this complex work, he focusses, among other aspects, on the idea that the work of art, at a specific moment, produces an “other”, a meaning that has not hitherto existed somewhere, waiting to be discovered. This hitherto unknown meaning comes into existence in the moment of creation. The creative moment in which the hitherto unknown is wrestled from the known, cannot be produced by following a recipe. The unknown, the other, virtually invades the world of the artist, as if the work of art happens to the artist, instead of him creating it. This experience has a changing effect on the artist and in the process he learns more about his own consciousness. The changing effect is not restricted to the artist, as the reader of the poem shares this experience. Because the reader is also writer, according to Breytenbach, the work of art is recreated by the reader and the reader has the same experience of a virtual invasion of the “other” on his/her own life and in the process also discovers more about his/her own consciousness.

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Myrzabayeva, Zh E. „ENVIRONMENTAL ART AND ITS IMPACT IN THE MODERN WORLD“. ARTS ACADEMY 8, Nr. 4 (Dezember 2023): 81–88. http://dx.doi.org/10.56032/2523-4684.2023.4.8.81.

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The article reveals the concept of art greening, its possibility of forming environmental consciousness and the way of influencing based on the principle of “ecological imperative”. The main indicator of sustainable development is the harmony between socioeconomic and environmental development, therefore, in the system of cultural values, the value of nature and attitude towards it acquires fundamental importance [1]. The author considers the stages of the formation of environmental consciousness in society through the art, as well as technological approaches, in particular, the art as a tool that allows, to come to the formation of environmental consciousness through the empathy

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Yurdanidze, Mehrali Kholisovich. „FORMATION OF NATIONAL CONSCIOUSNESS THROUGH TEACHING UZBEK FOLK APPLIED ART TO STUDENTS“. CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, Nr. 12 (01.12.2021): 110–14. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-22.

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The article gives a brief history of the development of folk arts and crafts, their stages and current significance. Besides the educational process, the students will study the folk arts and crafts, which are an integral part of our national cultural and spiritual heritage, as well as discuss the existing opportunities and shortcomings. It's done. Teaching students the applied decorative arts, their respect for the rich cultural and spiritual heritage of our people, the formation of our national identity in the minds of young people, their responsibility to preserve our increasingly forgotten values, contributes to the formation of.

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Díaz, Jazz. „Art and Ethnic Studies“. Ethnic Studies Review 42, Nr. 2 (2019): 173–79. http://dx.doi.org/10.1525/esr.2019.42.2.173.

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Jazz Díaz is an activist artist (artivist) who combines Art and Ethnic Studies. She describes her political consciousness and decolonizing process in navigating Western-centric art spaces. She highlights critical themes that her artwork addresses, and the essay includes examples of her work.

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Altieri, Charles, und Paul Crowther. „Art and Embodiment: From Aesthetics to Self-Consciousness“. Journal of Aesthetics and Art Criticism 53, Nr. 1 (1995): 87. http://dx.doi.org/10.2307/431743.

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Potash, Jordan S. „Archetypal aesthetics: viewing art through states of consciousness“. International Journal of Jungian Studies 7, Nr. 2 (04.05.2015): 139–53. http://dx.doi.org/10.1080/19409052.2014.924984.

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A Jungian and archetypal psychology approach to aesthetics includes noticing which archetypes are activated when viewing or engaging with art. Archetypes provide vitality to art and can be accessed by viewers through attention to bodily responses and emotional awareness enhanced by imagination. Connecting these personal experiences to the collective requires framing viewers' responses within comprehensible patterns. Joan Kellogg's theory ‘The Archetypal Stages of the Great Round of Mandala’ offers a system for identifying archetypes as states of consciousness and making them accessible to a wide audience in order to aid understanding of one's responses to art.

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Strauss, Lauren B. „Complex Identities: Jewish Consciousness and Modern Art (review)“. American Jewish History 89, Nr. 4 (2001): 464–67. http://dx.doi.org/10.1353/ajh.2001.0074.

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Kennedy, Henry, und Kenneth Knoblauch. „Imagery, art and biological aspects of visual consciousness“. Word & Image 21, Nr. 2 (April 2005): 124–35. http://dx.doi.org/10.1080/02666286.2005.10462105.

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Belz, Carl. „Complex Identities: Jewish Consciousness and Modern Art (review)“. Shofar: An Interdisciplinary Journal of Jewish Studies 21, Nr. 2 (2002): 187–89. http://dx.doi.org/10.1353/sho.2002.0133.

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Lukkas, Lynn Tjernan. „Oculus: Crossing Boundaries in Cyberspace, Art, and Consciousness“. Art Journal 59, Nr. 4 (2000): 14. http://dx.doi.org/10.2307/778116.

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Lukkas, Lynn Tjernan. „Oculus: Crossing Boundaries in Cyberspace, Art, and Consciousness“. Art Journal 59, Nr. 4 (Dezember 2000): 14–20. http://dx.doi.org/10.1080/00043249.2000.10792026.

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Chepelyk, Oksana. „Influence of Eco-art and the New Technologies on the Formation of Eco-Consciousness“. Artistic Culture. Topical Issues, Nr. 17(1) (08.06.2021): 128–44. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235235.

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The article addresses the problem of the effectiveness of eco-art as an instrument for the transformation of consciousness in the era of environmental crises. A number of eco-art projects focusing on threats to aquatic biodiversity that use digital technologies and data-driven approaches in interaction with biological organisms are considered. The features of eco-art with the use of new technologies and its impact on the formation of eco-consciousness are the subjectof the research. The aim of the study is to identify the features of the impact of eco-art projects on the formation of eco-consciousness in order to fundamentally rethink the principles of human interaction with nature. The objective of the paper isto review and analyze eco-art projects that use digital technologies in interaction with biological organisms and act as a catalyst for socio-cultural transformations. The methodology includes theoretical and field research on the topic “Dead zones. Global Data and the Local Ecosystem” at the research residence of IMéRA — the Institute for Advanced Study (IAS) in Marseilles, in the framowork of “Exter” international exchanges program of the Ukrainian Institute. The main employed method is a complex and systematic approach to the theory development, systematization of some generalizations, and their contextualization. An analysis of sources on the theory of deep ecology and eco-art, collected interviews, and video documentation were also used in the study, as well as photometric methods, comparative analysis of concepts, of structure and technological features of artistic realizations. A brief overview of the works by David Rothenberg, Natalie Jeremijenko, Tiare Ribeaux, Oksana Chepelyk, and others is given. The practice of Ukrainian eco-art in the framework of the exhibitions “Where Do We Go From Here?” and “Emergent Tributaries” in the Izolyatsia. Platform ofCultural Initiatives in Kyiv in 2018 are analyzed. These projects reflected global environmental issues, such as the relationship between man and nature, future visions and consequences of the exploitation of natural resources. The contexts in which international projects and Ukrainian works of eco-art emerge are described. The specifics of influence of eco-art and the new technologies on formation of eco-consciousness is outlined.

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Bronikov, Ignat, und Irina Khmyrova-Pruel. „INCONSISTENCY OF UTOPIAN CONSCIOSNESS“. Studia Humanitatis 20, Nr. 3 (November 2021): 30–35. http://dx.doi.org/10.15393/j12.art.2021.3763.

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Utopia is undoubtedly an integral part of human culture, since it is impossible to imagine a person who would not dream of paradise shores. But as widespread as utopia is, it is also obscure. Perhaps in order to shed light on the mystery of the essence of utopia, it is necessary to turn to utopian consciousness. Namely we need to analyze utopian consciousness itself, as well as its character and features, hoping to eventually get an unambiguous understanding of what utopian consciousness is and where it originates from, thereby getting closer to utopia itself. The article presents an attempt at such an analysis.

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HSIEH, CHIA-CHUAN. „PUBLISHING THE RAPHAEL CARTOONS AND THE RISE OF ART-HISTORICAL CONSCIOUSNESS IN ENGLAND, 1707–1764“. Historical Journal 52, Nr. 4 (06.11.2009): 899–920. http://dx.doi.org/10.1017/s0018246x09990355.

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ABSTRACTIn studies of English artistic culture of the first half of the eighteenth century, the notion of art-historical consciousness has attracted little attention, in contrast to an immense interest in issues of picture consumption and taste. This article provides a new perspective on the rise of art-historical consciousness by examining publications associated with the Raphael Cartoons, then at Hampton Court. Through a wide range of engraved reproductions and written commentaries, the Cartoons not only came to be the most visible Old Master paintings in England in the period, but also became central to an on-going process whereby ideas about painting were formulated in terms of artistic standards and historical development. The Cartoons publications illustrate a trend in which works of art formerly enjoyed privately by royal or aristocratic collectors became increasingly accessible to wider audiences. In consequence, ideas associated with these works penetrated diverse levels of society and art-historical consciousness assumed a public value.

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Doufas, Anthony G., Maryam Bakhshandeh, Andrew R. Bjorksten, Robert Greif und Daniel I. Sessler. „Automated Responsiveness Test (ART) Predicts Loss of Consciousness and Adverse Physiologic Responses during Propofol Conscious Sedation“. Anesthesiology 94, Nr. 4 (01.04.2001): 585–92. http://dx.doi.org/10.1097/00000542-200104000-00010.

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Background The authors evaluated a device designed to provide conscious sedation with propofol (propofol-air), or propofol combined with 50% nitrous oxide (N2O; propofol-N2O). An element of this device is the automated responsiveness test (ART), a method for confirming that patients remain conscious. The authors tested the hypotheses that the ART predicts loss of consciousness and that failure to respond to the ART precedes sedation-induced respiratory or hemodynamic toxicity. Methods The protocol consisted of sequential 15-min cycles in 20 volunteers. After a 15-min control period, propofol was infused to an initial target effect-site concentration of 0.0 microg/ml with N2O or 1.5 microg/ml with air. Subsequently, the propofol target effect-site concentration was increased by a designated increment (0.25 and 0.5 microg/ml) and the process repeated. This sequence was continued until loss of consciousness, as defined by an Observer's Assessment of Alertness/Sedation (OAA/S) score of 10/20 or less, or until an adverse physiologic event was detected. Results The OAA/S score at which only 50% of the volunteers were able to respond to the ART (P50) during propofol-N2O was 11.1 of 20 (95% confidence interval [CI]: 10.6-11.8); the analogous P50 was 11.8 of 20 (95% CI: 11.4-12.3) with propofol-air. Failure to respond to the ART occurred at a plasma propofol concentration of 0.7 +/- 0.6 microg/ml with propofol-N2O and 1.6 +/- 0.6 microg/ml with propofol-air, whereas loss of consciousness occurred at 1.2 +/- 0.8 microg/ml and 1.9 +/- 0.7 microg/ml, respectively. There were no false-normal ART responses. Conclusion The ART can guide individual titration of propofol because failure to respond to responsiveness testing precedes loss of consciousness and is not susceptible to false-normal responses. The use of N2O with propofol for conscious sedation decreases the predictive accuracy of the ART.

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Kharitonova, Natalia Stepanovna. „Impressionism as an Expression of Social Consciousness“. Journal of Flm Arts and Film Studies 6, Nr. 3 (15.09.2014): 82–90. http://dx.doi.org/10.17816/vgik6382-90.

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The article is an attempt to comprehend the emergence and establishing of the Impressionism, to understand the reasons of the reappraisal of artistic values gradually taking place in public consciousness and answer the question how the social demand for a new artistic value was formed. The birth of the Impressionism as a cultural phenomenon resulted from an artists interpretation of objective reality, his relations with the society, nature, science, philosophy, religion. The Impressionism was one of the brightest events in the European culture of the mid-1800s which made a great impact on the subsequent development of art becoming the key moment in the transition of the 19th century art to the main artistic trends of the 20th century.

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Krylova, Alexandra V. „Promotional and song extravaganza of air: goods in art format“. Observatory of Culture, Nr. 1 (28.02.2014): 55–60. http://dx.doi.org/10.25281/2072-3156-2014-0-1-55-60.

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Is devoted to the promotional song - one of the most popular genres in advertising practice, the impact on the mass consciousness of which is predetermined by music format and reliance on archetypal meanings that bring to the mass consciousness the concepts "song", "music", "art." The author classifies the types of promotional song, highlights musical and stylistic priorities, analyzes the issues of motivation, aesthetics and mnemonic properties of genre

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Mueller, Robert Emmett. „Mnemesthetics: Art as the Revivification of Significant Consciousness Events“. Leonardo 21, Nr. 2 (1988): 191. http://dx.doi.org/10.2307/1578558.

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Hawley, William M. „Framing Consciousness in Art: Transcultural Perspectives. By Gregory Minissale“. European Legacy 17, Nr. 4 (Juli 2012): 545–46. http://dx.doi.org/10.1080/10848770.2012.686752.

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Ding, Ying. „Development model and consciousness of Chinese ‘85 art movement’“. Journal of Art and Culture Studies 15 (31.12.2019): 161–79. http://dx.doi.org/10.18707/jacs.2019.12.15.161.

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Epstein, Russell. „Consciousness, art, and the brain: Lessons from Marcel Proust“. Consciousness and Cognition 13, Nr. 2 (Juni 2004): 213–40. http://dx.doi.org/10.1016/s1053-8100(03)00006-0.

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Leach, J. P. „Diagnosis of loss of consciousness: When art meets science“. Seizure 23, Nr. 7 (August 2014): 495. http://dx.doi.org/10.1016/j.seizure.2014.05.001.

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Altieri, Charles. „Visual Analogy: Consciousness as the Art of Connecting (review)“. Modernism/modernity 7, Nr. 3 (2000): 514–17. http://dx.doi.org/10.1353/mod.2000.0051.

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Elcock, Chris. „Are you experienced? How psychedelic consciousness transformed modern art“. Sixties 6, Nr. 1 (Juni 2013): 106–9. http://dx.doi.org/10.1080/17541328.2013.834188.

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Willis, Meredith Sue. „Seduced into Consciousness: The Art of Jayne Anne Phillips“. Appalachian Heritage 37, Nr. 1 (Dezember 2009): 22–28. http://dx.doi.org/10.1353/aph.2009.a258523.

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Little, Rina, und Candance Doerr-Stevens. „Building Place-Consciousness: An Art Museum and Entangled Relations“. International Journal of the Inclusive Museum 16, Nr. 2 (2023): 1–18. http://dx.doi.org/10.18848/1835-2014/cgp/v16i02/1-18.

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Winfree, Jason Kemp. „Nietzsche and the Self-Overcoming of Historical Consciousness“. Research in Phenomenology 52, Nr. 3 (26.09.2022): 333–51. http://dx.doi.org/10.1163/15691640-12341504.

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Abstract This paper addresses the self-overcoming of historical consciousness in Nietzsche’s “The Uses and Disadvantages of History for Life” and contemporaneous texts. I argue that Nietzsche’s particular historical awareness, which conditions his treatment of historiography [Historie], is indebted to the lineage of German Idealism it also overtly contests. That contestation reaches its apex in Nietzsche’s valorization of appearance and the redirection of poietic power, which enables him to affirm an art of history rather than a science thereof, indeed, an art aligned with justice.

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Kubiak, Anthony. „Cave mentem: Disease and the Performance of Mind“. TDR/The Drama Review 59, Nr. 2 (Juni 2015): 114–28. http://dx.doi.org/10.1162/dram_a_00453.

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What do the delineations of consciousness owe to disease? Might we see, in the earliest examples of performative art, traces of dis-ease giving rise to performance and art itself? And what do we make of recent discoveries that certain modes of disease can influence our states of mind, our beliefs, consciousness itself? Does our development as human beings—from distant past to present day—owe far more to disease than we might imagine?

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