Articoli di riviste sul tema "VIP (Artists' group)"

Social networks provide a convenient platform for art dealing and marketing. Many digital illustrators have art blogs where they post and promote their work, which they may also exhibit at traditional offline galleries. The sphere of digital art is highly competitive and open to new effective promotion tools, which makes it a prospective research subject. This study featured an online community of digital artists in the VKontakte social network, as well as the methods they use to attract potential buyers and increase their fandom. The research relied on the information and communication method supported by such sociological tools as expert survey and content analysis. The expert survey made it possible to classify digital illustrators into those with maximal, medium, and minimal popularity, as well as to identify the most effective promotion tools for each group. The VKontakte social network offers a wide range of promotion tools, based on the algorithms of this social network. The popularity of young digital artists depends on such factors as relevant content and joint projects with mature digital illustrators. The research contributes to the development of the genre of digital illustration and the fine art in general.

Today’s environmental challenges have prompted educators to explore ways to promote environmental sustainability. Contemporary artists working in ecological realms have presented distinct ways of understanding ecological concerns and proposed creative solutions to environmental challenges through ingenious means that reach people beyond scientific realms. Despite recognition of those creative cultural practices as invaluable educational resources, such efforts have not been a significant part of art curricula. This article aims to expand art’s potential role via reports on a recent curriculum development study of an on-campus collaborative art project in which practising artists known for their bioregional orientations were invited to inspire engineering students. This intracase analysis of developing group projects is followed by a cross-case analysis, which focuses on the distinguishing features that emerged from students’ responses to group activities. The findings are discussed to provide implications for the creative cultural practice of sharing ecotopian visions through art in the context of interdisciplinary learning.

This paper examines Guattari's notion of transversality through a creative and ambiguous form of political intervention, the performative encounter. Drawing from Guattari's work on subject groups, in combination with Deleuze's conjunctive ‘and’, via contemporary theorisations of creative activism and affect, it maps out a movement that destabilises categorical dualisms between activists and non-activists, artists and non-artists. It proposes that transversals such as those enacted by the performative encounter open spaces for the emergence of new subjectivities, relations and worlds. In doing so it critically extends Guattari's conceptualisations of political organisation, group subjectivation and aesthetics into radical political terrains that are antagonistic of the nation-state and capital at the same time as being affirmative of possible present and future conditions.

The article deals with the integration processes of Polish native inhabitants of Kraków and the newest (since 2014) migrants from Ukraine (70–100,000 in a city of about 800,000). One of the main actors in these processes are municipal public cultural institutions. Using a number of methods, the needs of the Ukrainian population in Kraków were assessed and the offer of the local public institutions was studied. A focus group, IDIs, analysis of websites, Facebook profiles, and participatory observation were used. A basic problem for migrants is finding information on the local cultural offer presented in Ukrainian or Russian. Kraków does much to include foreigners into its social life. However, still closer integration, taking advantage of the potential of migrants, would be instrumental to making their life better and to making the city even more attractive to its Polish and non-Polish inhabitants and tourists. Premises and other resources at the disposal of Ukrainian private institutions are too small for large-scale cultural activity. Kraków’s cafes and pubs help, organizing concerts and meet-the-author and meet-the-artist sessions, but these events could be better organized by public cultural institutions, inviting much larger audiences. Sometimes leading Ukrainian artists visit Kraków and turn to municipal institutions looking for support and employment, only to find neither. It would be very beneficial for the city to monitor these initiatives, via Kraków’s Ukrainian websites and Facebook profiles, and take advantage of them.

This study sought to provide insight into how art activities influence the well-being of long-term care residents, and how artists and caregivers collaborate in offering these activities. In two long-term care facilities for people with dementia and one for older people with chronic psychiatric disorders, an uncontrolled pre- and post-test study was conducted using a mixed-method design. Forty-six residents participated in the study. Three art activities—(a) dance, (b) music and movement, and (c) visual arts—were studied and co-created with the residents and executed by artists and caregivers together in eight to ten weeks. The Face expression scale (FACE) was used to examine the extent to which participating in the art activity influenced resident mood. Qualitative data were collected via group discussions with artists, caregivers, residents, and an informal caregiver. The results indicated that participating in an art activity positively influenced resident mood (p < 0.000). p-values for the three art activities were: p < 0.000 for dance, p = 0.048 for music and movement, and p = 0.023 for visual arts. The qualitative data revealed that joining an art activity provided a positive effect, increased social relationships, and improved self-esteem for residents. The collaboration between artists and caregivers stimulated creativity, beauty, and learning from each other, as well as evoking emotions.

Cet article porte sur les attentes des élites franco-canadiennes, et plus particulièrement franco-ontariennes, à l’égard des artistes et de leurs oeuvres dans le contexte des transformations sociétales qui ont cours durant les années 1960 et 1970. Il analyse plus précisément les trois rapports d’enquêtes commandés par le gouvernement ontarien entre 1969 et 1991, soit ceux du Comité franco-ontarien d’enquête culturelle (communément appelé le Rapport Saint-Denis, déposé en 1969), du Groupe d’étude sur les arts dans la vie franco-ontarienne, intitulé Cultiver sa différence. Rapport sur les arts dans la vie franco-ontarienne (ou le Rapport Savard, déposé en 1977) et du Groupe de travail pour une politique culturelle des francophones de l’Ontario, dont le titre est RSVP. Clefs en main (ou le Rapport Grisé, déposé en 1991). L’analyse permet de cerner les divers rôles, le plus souvent de cohésion sociale et de construction identitaire, que les élites souhaitent faire jouer aux artistes et aux oeuvres et de dégager les principaux enjeux et défis que les conceptions de l’art proposées, voire imposées, posent aux artistes.

This essay focuses on Brazilian–American artist Vik Muniz's 2008 Pictures of Garbage and the pendant 2010 documentary on their making, Waste Land, directed by Lucy Walker. Muniz enlists a group of Brazilian garbage pickers as subjects and participants in the construction of their own portraits, using garbage picked from a landfill outside of Rio de Janeiro. The use of garbage as a material draws attention to global patterns of exploitation that produce both the waste itself and the poverty of the garbage pickers. However, this essay argues that Muniz's social aims are undermined by formal incoherences within the portraits and their subsequent recommodification on the global art market. Using Michael Fried's theories, the essay identifies a tension in Pictures of Garbage between the theatricality of the subjects' poses, drawn from canonical European paintings, and the absorptive qualities of the garbage itself. This dissonance reflects Muniz's own split position as a cosmopolitan global artist compelled to represent Brazilian identity through associations with base materiality.

Abstract
 Looking at its historical process, the ceramic tile technique that appears in religious, military and administrative buildings as a wall cladding method, has nowadays given way to ceramic wall panels that contribute to the aesthetic values of contemporary architectural structures. This contribution made by the coordinated effort of the architect and the artist via ceramic wall panels, which started to be installed at specifically reserved spots within such contemporary architectural structures, also adds a positive impression on the identity of the structure. These panels, which are considered to be means of surface enrichment and identity attribution, comprise all the stages of forming a work of art. Light, color, circulation, balance, composition, etc. are the factors which stand out as the significant elements within the artwork. Unfortunately, aesthetic and environmental factors are not taken into account within the scope of the rapidly increasing settlement rate worldwide, including our country; and this in turn causes numerous structures in various cities around the world to look alike in shape and form. Still, there are artists, though few in number, who apply structural ceramic elements, which are both environment-friendly and have been in use for thousands of years, with a contemporary understanding. This study aims to elaborate on this issue with a specific focus on the case of the ceramic wall panel titled “Freedom” by Huseyin Ozcelik, executed in 2012 to qualify as a permanent example in which art engages with education; at the Central Library Building of the Near East University, North Cyprus. This application is a completely subjective, and by demonstrating the design and application processes to a group of students, it was aimed to serve educational purposes as well as to empower the structure with an artistic identity.
 Keywords: ceramic tiles, ceramic wall panels, design.

This reflective paper draws on an evaluation of current online pedagogy but also the authors practice as an artist that revolves around forming a relationship between image and sound. As such ‘Listening’ and ‘Looking’ are used as a broad structure for six short essays that draw on experiences of moving to online delivery to consider the virtual classroom as an amorphous, fluid space that can be both problematic but also present opportunities for innovative teaching and learning. In addition to the six reflective essays; Latency, Volume, Spaces to Speak, Lebenswelt, Screenshare and The Thingness of Making, The Thingness of Teaching the article draws on an anonymous survey of second and third (final) year undergraduate students and an online conversation group initiated with colleagues that teach at undergraduate and post graduate level at both Manchester School of Art and the Royal College of Art. Rather than propose a definite set of conclusions the article suggests that the online platform is inherently a visual one, but using listening as a way of understanding it could open up the possibility of creating a teaching space that is concurrently difficult to grasp but potentially easily accessible and less hierarchical.

Abstract The article unpacks the history and function of hypervisibility via surveillance mechanisms used to monitor and classify subjects within the criminal justice system, using social theories proposed by Michel Foucault and Allan Sekula; offers examples of digital media artists who experiment with techniques designed to evade bodily monitoring and surveillance; and discusses a digital media project with a group of adolescent girls in a juvenile arbitration program who video-recorded their slam poetry performances and then deliberately masked/obscured their bodily appearances while editing their videos. The authors argue that the girl participants’ media-making practices generated a liminal space of in/visibility that pushed back against their experience of criminalization and disrupted surveillance mechanisms that they encountered in their local schools, communities, and the juvenile arbitration program, while the participants openly spoke about their life issues and traumas.

Pourquoi proposer une lecture d'Oppède, ce roman quasi inconnu que Consuelo de Saint-Exupéry publia en 1945 chez Brentano's, et chez Gallimard en 1947 ? Parce que, sous le couvert de la fiction, Consuelo redonne vie à l'expérience originale qui fut celle du " Groupe d'Oppède ", jeunes architectes et artistes réfugiés après 1940 dans le Lubéron. Parce que ce récit, baigné de fantaisie et de gravité, n'est pas exempt d'autodérision et d'humour, ce qui peut le rendre attachant. Mais aussi parce que s'y rencontrent, dès les premières pages, des réminiscences bien apparentes des textes de Saint-Exupéry.

Art is not just a part of life; for some, it’s life itself! and this life is being lived to the fullest by the women artisans who not only nourish the art like their own kin but also help in promoting the GDP and shaping the economy of the country. According to the International Trade Centre, women make up for 70% of the global handicraft workforce. Here, through this exhaustive research, we shall analyze the contributions, challenges, solutions and outcomes of the voice of women artisans in India and how In- dia’s GDP has got a boost indirectly with women artisans taking the center stage. A KPMG study estimated that approximately 7.3 million people depend on handicraft and allied activities for livelihood. The handicraft and handloom sector in India is a Rs 24,300-crore industry and contributes nearly Rs 10,000 crore annually in export earn- ings. Women Artisans of India and the tribal communities gearing up with their act is tru- ly inspiring amidst the brand market of the world where handmade threads and knots are giving a run for the money to the machine made and robotic assembled goods. Vocal for local and its impact which not only promotes self reliability in the tourism sec- tor but even sustainability and is environment friendly is another feature that is touched upon with reference to Indian handicrafts and emergence of new startups promoting an-cient Indian techniques is another interesting feature. Self help group and NGOs sup- porting the economic development especially during the COVID pandemic times where this industry was the worst hit has been he life savior of this massive Industry. Digital empowerment ensuring higher market reach and faster market capture is the tool that does the trick with women artisans voicing in their concerns and asking for a leading hand not for their support from the masses but an indirect upliftment via awareness generated in the market. This awareness is the gateway to Education.

Wayang Golek is one of the nation's cultural heritage that grows and develops in West Java, and its existence still exists today but is starting to decline. Photography is one part of the technology that can bridge the Punakawan Sundanese Wayang Golek Culture in maintaining its existence. The purpose of the research is to maintain the existence of the Punakawan Sundanese Wayang Golek Culture through the media of Photography. The research method uses a qualitative descriptive approach obtained through interviews, observations and is equipped with photographic works. The results of this study indicate that Photography can be one of the media in maintaining the existence of Wayang Golek, especially the Sundanese Punakawan group, through social media such as Instagram. Photography by researchers and other artists' works shared via Instagram can be spread worldwide and stored forever, with periodic and continuous stages, the existence of Wayang Golek, especially Punakawan Sundanese, will be maintained.Keywords: Art Fotografi; Punakawan;Culture Wayang Golek.

The young generation that grew up after the 21st century is under the influence of digital data, smart gadgets, as well as tools that allow them to process information differently. To date, digital storytelling has been studied as a platform for communicating with students in developing information literacy and cultural understanding. Therefore, this study investigated whether DST can help students increase their knowledge of arts and cultural heritage and improve their engagement in developing technological and scientific skills. A purposive sample of 60 (Group 1 and Group 2) first-year students enrolled in an arts and heritage course at UMT were interviewed using qualitative research with seven (8) open-ended interview questions and the questionnaire was distributed via a Google form. Upon completion of the digital storytelling project, the data was collected and analysed. The results are organised as follows: i) Knowledge and improvement of the subject of arts and cultural heritage management ii) Building technical research skills iii) Affective responses to digital storytelling iv) Working in a group. Digital storytelling enhanced students' experiences, perceptions of cultural competence, and development of research and technical skills. Benefits included the use of creative thinking and ultimately producing a short video on a diversity topic of their choosing without identifying themselves as artists or filmmakers. able to create or enhance meaning through the use of additional tools.

Background and objectives With a few exceptions, musical taste has been researched via likes or preferences of certain types of music. The present study focuses on disliked music and takes a broad approach to cover explanatory strategies related to personal dislikes. Methods In-depth interviews were conducted with 21 participants in five age groups. Interviewees were asked to prepare a list of their disliked music, and for each item they were asked about the reasons for the dislike. To ensure that the complexity and range of the participants’ dislikes and rationales were captured in the analysis, a structuring content analysis as a mostly theory-driven approach was combined with inductive category creation out of the interview data. Results The most often mentioned type of dislike was musical style, followed by artist and genre. Five main reference points were identified for describing musical dislikes: the music itself, lyrics, performance, artist, and the people who listen to it. The identified rationales for disliked music were assigned to three larger categories: object-related reasons, such as music-compositional aspects, aesthetic dichotomies or lyrics; subject-related reasons, such as emotional or bodily effects, or discrepancies with the self-image; social reasons, which refer to one’s social environment and the taste judgments common to it (in-group) or to other groups of which the participants do not feel part of (out-group). Apart from the rationales for disliked music, the participants described specific reactions when they are confronted with their disliked music, such as emotional, physical, and social reactions. Conclusions While musical dislikes have already been shown to fulfill important social functions, the current study extends the rationales to music-related and self-related reasons. Musical dislikes fulfill similar functions to liked music, such as preservation of a good mood, identity expression and construction, strengthening of group cohesion as well as social distinction.

The article is devoted to the consideration of female interior portraits created by E. Vigée Le Brun in Russia. The purpose of the study is to reveal the role of the accessory in the portrait concept of the French artist, which is characterized by close attention to the subject matter of painting. The relevance of the work is conditioned by the fact that a careful study of this group of works, which represent the model in a waist type, contributes both to the comparison with portraits that show the figure in a knee-high or full-length image and emphasize three-dimensional aspects in its interpretation, and to the identification of the specifics of E. Vigée Le Brun’s creative approach in creating different variants of interior portraiture. The research methodology is based on a combination of formal, comparative-historical and contextual analysis to determine the characteristic features of interior portraiture in the master's work. This research allows author to come to the conclusion that the accessory in the portrait concept of the French artist not only shows the interests of the model and her family virtues, but also enhances the expressiveness of the work and the individuality of the person portrayed. At the same time, it should be noted that the treatment of accessories demonstrates signs of some action rather than active involvement in it, and thus has a conventional character, typologically corresponding to the widespread variant of the semi-ceremonial male portrait as a statesman. In addition, E. Vigée Le Brun's approach to this type of interior portrait has a number of characteristic features, which include convincing and compact posture, bright color, intense lighting, considerable attention to the painting of the costume and the special role of accessories for individualizing the model's look.

Generally, there are no doubts felt that the media influence the language and contribute to the expansion of individual linguistic creations, of group-specific linguistic devices or regionalisms. Yet, proof is lacking that the apparently ‘obvious’ influence of the media does really exist or that it is as strong as commonly maintained, and it is widely admitted that it is almost impossible to gather statistically significant proof of any influence of the media on the language. This contribution gives evidence from Spanish, showing that the regional Spanish words chafardear and chafardero, from the Catalan xafardejar, entered the Spanish language via a popular comic strip published in Spain since the 1940s, and that its knowledge and expansion can definitely be related to the success of the comic strip created by a Catalan artist. The study is based upon a total of 60 interviews done both in the bilingual Catalan-Spanish regions and in non-Catalan regions.

Les livres que Pascal Quignard publie depuis près d’un demi-siècle, éloignés de la pratique de l’autofiction, se nourrissent néanmoins des événements marquants de sa vie (naissance, sexualité précoce, emprise maternelle, ses rencontres), comme de ses lectures dans tous les domaines de la connaissance. Il lit, il écrit, il publie, partagé entre son besoin vital de solitude pour lire, pour penser, pour méditer, pour écrire, et la nécessité de réintégrer le groupe au moment de la publication. Ses livres, entre rêve et réalité, ne revendiquent aucune doctrine, ne prétendent à aucun enseignement, même s’ils ne cessent de se nourrir de notre histoire contemporaine comme de celle du passé le plus lointain. Ils sont une invitation à penser. Depuis quelques années, Pascal Quignard est sur scène, seul ou avec d’autres artistes, jouant du piano, lisant, interprétant ses textes et donnant ainsi chair à ses livres.

Summary. The defined issue is the new angle to study Petro Kholodnyi Sr. heritage, that allows to research the thematic interest features and style synthesis specific to artist`s original language, where we can trace the modernist style, symbolism, byzantine style and impressionism echoes. It was observed an important group of artwork by Kholodnyi Sr. in the article. Together with the sacral heritage, they have played a significant role in the reviving of the Ukrainian national art in the first part of XX century - the compositions on the folk themes. The comprehensive review of the folk poetics in creative work by Petro Kholodnyi Sr., is lightened in context of the current historical and art-cultural realities of the defined period, that allowed to distinguish the characteristic, typical and novel features in creating, by Petro Kholodnyi Sr., the Ukrainian national art through appealing to the folk poetics. It was marked, that Petro Kholodnyi Sr. engagement in folklore was natural in context of two essential interdependent tendencies of that period: the idea of the “national reviving” in the Ukrainian culture in the first part of XX century, among the characteristic features of which – appealing to folklore as the field of the national spirit preserving and “tradition discovery”. It is defined the peculiarities of trendsetting technical performance and ideological-stylistic understanding and rendering of the folk poetics in the visual form, that expanded the idea of this source interpretation abilities in form and sense aspects of that period art searches context. Methods. For holistic analysis, author applied the following methods: form and style analysis to explore the art peculiarities of the artwork, on the Ukrainian folklore motives, by Petro Kholodnyi Sr.; comparative style analysis to detect the features of artist creation manner and its change according to certain one or other ideological-sensitive or emotional message, and to distinguish the differences, between comprehension and visual implementation of the folk poetics in Kholodnyi Sr. creative work in comparison with Russian artists, who, in their creative activities, appealed to the folk well-springs. Results. Through folk poetics, which he felt delicately, Kholodnyi Sr. propagates the most current messages of “national reviving” in early XX century. In particular, the Ukrainian national history pages he exposes via appealing to such source of its study as ballad (thought) (“The thought of the Black sea windstorm”), that added some folk-poetic colours to the theme; also he refers to one of the most famous ancient Rus literature memorials of the late XII century – “The Lay of Igor’s Campaign”, which is saturated with Slavic folk poetry motives. In compositions created by these sources, Kholodnyi Sr. not so much emphasized the ballad subject illustrations or historical annals context as the poetic highness. So there is in his artwork, even on historic themes, a strong, musical in its harmonic melody, rhythm of colourful spots and lines. That’s the important individuality of his creations. The same powerful national poetics we can also feel in his creative works on Ukrainian tales, corals and songs motives, where the emphasis is put on enlarging the emotional-sensitivity edge, but not on the external plot, that we can see in such works as “Oh, there is rye on a field”, “Ivasyk and witch” and “The tale of a girl and a peacock”. Poetry and subjective-emotional components of two last creations point out on the affinity to symbolic-modern worldview, where the reality and tale are mixed at the moment. In his works on folk themes, he combined the style trends early XX century with the national painting traditions. Particularly “The Tale of a girl and a Peacock” corresponds by style to plastic language of modern with its emphasized decorativeness, softness of lines and clear lineal drawing, but in composition “Oh, there is rye on a field” we can see the signs of late modern which includes into its art language the method of stylization one or other famous historical pattern, in this case - byzantinism. Both art work performed in discovered by artist tempera technique which allowed to get that colour tints that enchanted in the ancient Galician icons. So these paintings possess you by delicately harmonized tincture which together with folk motive, its subject and ethnographic details, like heroes’ cloths, creates the folk-national sound of composition.

In lockdown as I finished my five-year project, on women experimental filmmakers from the 1970s and 1980s, I have been focusing on this past time that formed me. Watching films by artist/filmmakers that I love has helped to keep my anger at the present at bay. A parallel journey back in time has been playing out on TV via the high-profile voices of Steve McQueen and Russell T. Davis. Steve McQueen’s series, Small Axe pays tribute to the Black communities’ struggles, as the postwar era waned and the aggressively neo-liberal individualist world waxed. The anger and activism from an earlier period presciently planned for a 2020 screening speaks out at us from the TV, coinciding with Black Lives Matter, and begs the question of how exactly have things improved in the last 40 years? By contrast Russell T. Davis’ It’s a Sin, is a more sugar-coated dramatization of the 1980s in its treatment of the trauma of the AIDS generation and the impact of the disease on a small group of young gay men and allies in London. How do these different voices meet, mix and coalesce as both a vision from that era and a memory of that era?

La présente étude valorise les dons par lesquels l'Académicien Professeur Docteur Mihai Ciucă a doté le patrimoine de la collection du Cabinet des estampes de la Bibliothèque de l'Académie Roumaine. Personnalité dans le domaine de la microbiologie et de la bactériologie, Mihai Ciucă a combiné sa vie scientifique avec sa passion pour l'art et la bibliophilie. Stimulé par la personnalité du professeur Ion Canatcuzino, dont il est devenu un fidèle collaborateur, le Dr. Mihai Ciucă a fait partie du groupe des cantacuzinisti, l'élite médicale de l'entre-deux-guerres, devenant un collectionneur connaisseur de gravures européennes. Sa collection comprenait des œuvres graphiques européennes et des estampes japonaises, ainsi que des livres illustrés par des gravures. L'étude tente de retracer le parcours de la collection, en présentant certaines des œuvres de la collection de l'érudit, réalisées par des artistes dont les noms sont particulièrement liés à des moments importants de l'histoire de l'art. Le geste du Dr Mihai Ciucă de faire don de l'ensemble de la collection au Cabinet de Stampe s'inscrit dans un geste typique et naturel concernant le destin des collections des élites médicales, à savoir faire don de la collection à l'État et la mettre à la disposition des chercheurs.

Designing spatial layout environment for multimedia galleries involves understanding of the design process, and the implementation of design concepts into architectural design sketches and 3-dimensional visualizations. Consideration for visitors’ experience significantly improves the space treatment and usage. This research focuses on designing multimedia galleries based on the six basic spatial layouts, inclusive of gallery affordance component in the multimedia gallery framework. The objectives of this research are; i). To establish the preliminary design process and expression of ideas via 3-dimensional visualizations and ii). To assess the understanding of designing multimedia galleries. The research methodology is conducted in two phases; preliminary phase one which is the architectural design process phase which includes study of the design brief, site appreciation, users’ needs, spatial requirements and design intention. The design concepts are then translated into in 3-dimensional visualizations for better understanding of spatial layout and the environment. Phase two assesses students’ understanding through an open ended survey. In this research, Virtual Reality Design 1 students from Faculty of Creative Multimedia were guided in the preliminary design stage. They were briefed on the concept of multimedia gallery framework, overall design process and underwent critique sessions during the design development. The final design was finalized from a selection of alternatives and materialized in 3-dimensional visualization images and walk-through video. An open ended survey was distributed to the students after they have completed their final design. In this survey, thoughts and ideas of their concept and design were collected and processed. Visitors’ experience is also one of the important components in this study. Findings from the survey contribute to the process of designing and developing multimedia galleries by investigating design students’ understanding of visitors’ experience in their design. This research is conducted and limited to a group of semester one virtual reality students. The visualizations are also created based on basic knowledge of 3-dimensional tools. Significance of this study will benefit design students, artists and curators of multimedia galleries and the built environment, as well as establishes ground for future works.

Objetivo: Identificar la efectividad de la intervención educativa em el postoperatorio de personas con estomias intestinales de eliminación. Método: Revisión sistemática de la literatura registrada en el PRÓSPERO: 42018094601 y realizada en abril de 2018, en las bases MEDLINE, Web of Science, CINAHL, SCOPUS, Cochrane, LILACS y BDENF vía Biblioteca Virtual em Salud (BVS), además de las listas de referencia de los artículos seleccionados para encontrar literatura relevante adicional. Se incluyen artículos con diseño experimental (por ejemplo, estudios no controlados, estudios controlados y ensayos clínicos randomizados y controlados) y cuasi-experimental, sin restricción de idioma y tiempo.Resultados: Se seleccionaron 6 estudios y el tipo de intervención educativa más prevalente fue la educación estándar para el grupo de control y educación estándar más acompañamiento telefónico para el grupo experimental. La mayoría de los participantes tenía edad a partir de 50 años y el tiempo de duración de las intervenciones educativas varió de 3 a 6 semanas.Conclusión: Se verificó efecto positivo de la intervención educativa en el postoperatorio de personas con estomias intestinales de eliminación en los aspectos: conocimiento, satisfacción, tiempo de internación, aspectos físicos, mentales y sociales, calidad de vida, conocimiento sobre prácticas de autocuidado con alimentación y estomia, ajuste a la estomia y complicaciones. Objective: To identify the effect of educational intervention in the postoperative period of people with intestinal elimination ostomies.Methods: Systematic review of the literature on PROSPERO: 42018094601 carried out in April 2018, in the bases MEDLINE, Web of Science, CINAHL, SCOPUS, Cochrane, and LILACS and BDENF via the Virtual Health Library (VHL), in addition to the reference lists of articles selected for finding additional relevant literature (including uncontrolled studies, controlled studies and randomized controlled trials) and quasi-experimental, without language and time restriction.Results: 6 studies were selected and the type of most prevalent educational was standard education for the control group and standard education plus telephone follow-up for the experimental group. The majority of the participants were 50 years old and the duration of the educational interventions varied from 3 to 6 weeks. Conclusion: There was a positive effect of educational intervention in the postoperative period of people with intestinal elimination ostomies in the following aspects: knowledge, satisfaction, hospitalization time, physical, mental and social aspects, quality of life, knowledge about self-care practices with feeding and ostomy, adjustment to the ostomy and complications. Objetivo: Identificar o efeitoda intervenção educativa no pós-operatório de pessoas com estomias intestinais de eliminação. Método: Revisão sistemática da literatura registrada no PRÓSPERO: 42018094601 y realizada em abril de 2018, nas bases MEDLINE, Web of Science, CINAHL, SCOPUS, Cochrane, e LILACS e BDENF via Biblioteca Virtual em Saúde (BVS), além das listas de referência dos artigos selecionados para encontrar literatura relevante adicional. Incluíram-se artigos com desenho experimental (incluindo estudos não controlados, estudos controlados e ensaios clínicos randomizados e controlados) e quase-experimental, sem restrição de idioma e tempo.Resultados: Foram selecionados 6 estudos e o tipo de intrevenção educativa mais prevalente foi educação padrão para o grupo controle e educação padrão mais acompanhamento telefônico para o grupo experimental. A maioria dos participantes tinha idade a partir de 50 anos e o tempo de duração das intervenções educativas variou de 3 até 6 semanas.Conclusão: Verificou-se efeito positivo da intervenção educativa no pós-operatório de pessoas com estomias intestinais de eliminação nos aspectos: conhecimento, satisfação, tempo de internação, aspectos fisicos, mentais e sociais, qualidade de vida, conhecimento sobre práticas de autocuidado com alimentação e estomia, ajustamento a estomia e complicações.

The study surveys the investigations carried out since the publication of the author’s Kracker monograph (Budapest, 2004, in German 2005), and rectifies certain data and the oeuvre catalogue in the book at several loci. New findings are mainly contributed by the Czech Republic: Václav Mílek and Tomáš Valeš explored archival data in Nová Riše and Znojmo, which add to the currently elaborated register entries studied in Vienna and to a lesser extent in Jászó (Jasov, SK). The latter shed light on the network of social relations of the known family of artists, and lead – by virtue of Johann Lucas Kracker’s sculptor father and sculptor stepfather – from Johann Lucas Hildebrandt via relatives employed in the court to the circle of the provincial chief architect Franz Anton Pilgram. The painter got married in Znojmo in the summer of 1749, where he settled, presumably helped by his painter brother-in-law many years his senior, Dominic Clausner; perhaps it was he who mediated him to the Premonstratensians. Based on archival data, Tomáš Valeš attributed two upper pictures of the Capuchine high altar to Franz Xaver Karl Palko from among so-far defined Znojmo works of Kracker, while Petr Arijčuk has discovered several ensembles of paintings convincingly attributed to Kracker in the Moravian region. These works display the strong influence of Paul Troger.The Pauline church of pilgrimage at Sasvár (Šaštin, SK) was renovated by favour of the Habsburgs; its fresco decoration was entrusted to Viennese court artists: the figure painter of the composition signed by Joseph Chamant was Joseph Ignaz Mildorfer. In the summer of 1757 Kracker delivered two (signed) altar pictures for the pair of chapels in the middle and, in my view – contradicting somewhat the Mildorfer monograph – decorated their lateral walls in grisaille and on the ceilings of the first pair from the sanctuary he painted frescoes of hovering angels. Portraits by Kracker are also known from this period: the imaginary portrait of King of Hungary Béla IV, preserved by the Fáy family since the suppression of the Premonstratensian monastery in Jászó, has recently been identified by researcher of the family genealogy Tünde Fáy. A fine bust of a Moravian noblewoman signed in 1751 has cropped up in Rome’s art trade.Kracker arrived in Eger from Jászó in the autumn of 1764, only for an occasion. His first job was to decorate the bishop’s private chapel in Eger: the fresco of the resurrected Christ perished in the 19th century. Its only visual trace is a water colour copy signed in 1816 and inscribed by Franz Hauptmann, which was rediscovered after long latency and put on display in 2017 by Petra Köves-Kárai. In 1767 Kracker was working for the Premonstratensians in Geras again from Znojmo: in that year he signed the fresco of the parish church of nearby Japons and decorated that votive chapel at Elsern (the frescoes of the latter perished during reconstructions). Sharing the opinion of Wilhelm Georg Rizzi, the book of 2004 disputed that the presbytery ceiling of Japons was Kracker’s work and thus it was included as the work of Paul Troger in the monograph of the Tirolean painter published in 2012. However, the sources published by Rizzi in 2011 are not convincing enough; the homogeneity of the decoration suggests the authorship of Kracker in all four bays, I think.The largest increment has been added to Kracker’s graphic oeuvre. Thanks to Tamás Szabó, we know increasingly more of the historical provenance of the Szeged collection of drawings, including the key role of a Szeged painter Ferenc Joó’s studies in Eger. He also directed attention to Joó’s friend from Tiszafüred, painter and graphic artist Menyhért Gábriel who also studied in Vienna and copied works in the archiepiscopal gallery in Eger, and to his estate in Debrecen. That latter contains 144 sheets. Amidst the engravings and 19th century drawings the baroque drawings clearly emerge as a separate group, most of which – 12 compositions – proved to be by Kracker. In addition to the first sketch of the Jászó high altar, the St Sophia praedella picture of the St Anne side altar in the Minorite church of Eger can be accurately identified; an Assumption picture is conditionally associated with the high altar picture of 1774 in the parish church of Besztercebánya (Banská Bystrica, SK). No models of the St Augustine and St John Nepumecene drawings are known, and another two sheets together with a sheet in Szeged lead to the altar pictures in the church of Olaszliszka, but they must have been painted after Kracker’s death, in his workshop. A coherent series copied the ceiling fresco of the refectory in the Praemonstratensian monastery of Geras, painted by Troger in 1738. The quality of draughts-manship is outstanding, coming close to the model.Together with the baroque drawings, some old copperplate engravings also got into the museums of Szeged and Debrecen. It cannot be excluded that they can also be traced to Eger and they might have been pieces of Kracker’s collection. No inventory survives of Kracker’s estate but when his pupil Johann Zirkler died, a great amount of drawings and prints were inventoried which he might have inherited from his master. For lack of concrete correspondences this provenance cannot be proven, but in another way – by defining the graphic antecedents to Kracker works – we have compiled a virtual collection of the painter’s models. The revised catalogue of Johann Lucas Kracker’s drawings is appended to the study.

Abstract In Madagascar, musical genres that were previously exclusively regional have been broadcast nationwide for a few years. One of the notable changes concerning representations lies in the transition from identity referents linked to regional and/or ethnic affiliations to referents (assigned by the capital’s media) belonging to a globalizing register: mafana music (“hot music”). Artists, taken in this category, have migrated to the capital and are building new musical forms combining regional or ethnic repertoires and international modern forms, in particular by affirming and claiming a Black belonging through borrowings from modern African and North American musical genres. The article will focus on reflecting on globalization as a horizon. An alarming economic reality, an unequal social order, strong relations of domination and dependence at the local, national and global levels, are realities that strongly mark Madagascar. However, we will see how the actors of the music studied come in part and in their own way to challenge this context by an original local/global articulation. From the so-called mafana music we will see how local music genres were formed and have built meaning by connecting to global horizons. Carried in part by young women from dominated regions and marginalized communities and who have become stars, this phenomenon refers to multiple imaginaries. It is among other things to be understood in a context of inter-ethnic relations at the national level, inherited from the colonial system and mobilizing stereotyped representations between merina (historically dominant ethnic group, of the capital) and coastal, through oppositions “white” / “black”, “Asian type” / “African type”, “civilized” / “savage”, unbridled /measured sexuality... The article will focus on analyzing the processes of positive reappropriation of these stereotypes (transition from the status of black women / coastal mainty to that of national black stars) and the articulation of the phenomenon to new regional (Indian Ocean) and international (France) mobilities through community networks that are set up via the diaspora and the internet (Youtube, Facebook). At the heart of identity reformulations, these musics shake up categories and the established order. Taken in emerging markets, deploying through new networks and circulations from below, they are at the center of contemporary mutations where insularity and expanded horizons are entangled.

Alexandra David-Néel est connue comme la première femme à pénétrer la cité monastique interdite de Lhassa en 1924. Née en 1868, cette féministe, anarchiste, philosophe, artiste lyrique a passé 25 ans de sa vie en Asie. Ses valeurs de liberté et de curiosité ont poussé cette orientaliste dans son adolescence à la fugue (à 15 ans en Angleterre et à 18 ans en Italie) et à l’âge adulte aux longs voyages. À 43 ans elle débute un voyage de 14 ans qui se termine par son entrée à Lhassa déguisée en nonne mendiante (bhikkou) feignant la folie. Elle est décédée à 101 ans à Digne-les-Bains alors qu’elle venait de faire refaire son passeport1… Dans le contexte de crise de reconnaissance de la médecine générale que nous connaissons, les chercheurs du centre académique de médecine générale de l’Université catholique de Louvain publient dans ce numéro 194, un modèle conceptuel des valeurs de la médecine générale destiné à l’enseignement. Leur approche combinée de généralistes enseignants, d’éthiciens, et d’anthropologues décrit un premier groupe de valeurs autour de la finalité même de la profession. Pour « donner du sens », ces chercheurs proposent la valeur de l’excellence qui permet de donner des soins humains de qualité. Pour parvenir à cette qualité, ils proposent d’autres valeurs : une relation de confiance, un savoir scientifique objectif de qualité, l’équité, la curiosité, et l’esprit critique2. Ces valeurs transparaissent dans l’article des chercheurs généralistes marseillais qui se sont intéressés au transfert aux urgences des résidents d’EHPAD en fin de vie. Ils mettent en lumière les difficultés à élaborer un projet de fin de vie et leur conclusion est presque violente puisque pour eux, le soin du résident d’EHPAD n’est plus adapté à l’activité du médecin traitant libéral… La crise de reconnaissance, l’épuisement des soignants est au coeur des transferts aux urgences3. Ces valeurs transparaissent aussi dans l’article de Chastang et al. qui se sont demandés quels facteurs étaient associés à la qualité de vie des parents d’enfants atteints de troubles du neurodéveloppement (TND) en Île-de-France. Les facteurs identifiés comme améliorant la qualité de vie étaient le fait d’être en couple et d’être soutenus par leur médecin traitant4. Dans la rubrique phare, les chercheurs lillois ont évalué l’intérêt des médecins généralistes pour le Projet de soins intégrés des personnes âgées en risque de perte d’autonomie (PAERPA). Sensibilisés aux problèmes des soins aux personnes âgées et à l’intérêt du travail collaboratif, les généralistes considéraient le PAERPA comme un gain de temps ; ceux qui n’étaient pas sensibilisés considéraient ce travail collaboratif comme une perte de temps5. La fin de vie en EHPAD, l’accompagnement des parents d’enfants avec un TND, le projet de soin intégré s’inscrivent dans la valeur excellence au service de la qualité du soin. La qualité demande du temps. Le temps d’établir une relation de confiance, le temps de développer son savoir scientifique, le temps de l’esprit critique, le temps de la curiosité de l’autre… Dans cette crise de reconnaissance, je vous propose de ne pas obéir aux sirènes opportunistes d’une médecine simpliste et lucrative, de ne pas obéir aux injonctions iniques et comptables des tutelles ; et, comme Alexandra David-Néel, de refaire notre passeport pour un long voyage vers l’excellence et la qualité du soin inscrite dans le temps.

De sa création en 1913 à sa fusion avec Vogue en 1936, le magazine américain Vanity Fair a pour vocation de parler de l’art contemporain européen et américain par de courts articles de vulgarisation, des photographies et des caricatures. Plusieurs domaines artistiques sont couverts : musique, danse, opéra, littérature, peinture, sculpture, arts graphiques, cinéma, photographie et mode. La France constitue tout à la fois le rêve, l’attraction et le modèle des Américains : elle reste omniprésente jusqu’au milieu des années 1920, puis cède la place aux artistes américains. Vanity Fair reflète plus particulièrement la vie culturelle à New York et à Paris, même si ses ambitions sont plus largement ouvertes sur l’Europe et les États-Unis. Dans la rubrique intitulée « Hall of Fame », il n’est pas rare de trouver un Français parmi les cinq ou six personnalités du mois. La France est présente davantage pour ses arts plastiques et sa littérature. Le domaine musical, plus réduit, illustre cependant plusieurs facettes : les Ballets russes de Diaghilev, les ballets de Serge Lifar, les ballets de Monte-Carlo, les nouvelles danses populaires (tango, matchiche), l’introduction du jazz, la chanson populaire, les lieux de divertissements. Quant à la musique savante, le Groupe des Six, Erik Satie et Jean Cocteau occupent une place de choix au début des années 1920, avec plusieurs de leurs articles publiés en français. Dans les pages de Vanity Fair, des critiques musicaux américains comme Virgil Thomson et Carl Van Vechten incitent les compositeurs à se débarrasser de l’influence européenne. John Alden Carpenter ouvre la voie avec The Birthday of the Infanta (1917) et Krazy Kat (1922), mais c’est Rhapsody in Blue de Gershwin (1924) qui donne le coup d’envoi à une musique américaine qui ne copie plus la musique européenne. À partir de là, la firme de piano Steinway livre une publicité différente dans chaque numéro qui illustre, par un peintre américain, une oeuvre musicale américaine.

In this article, the author focuses on the work called Laocoön, which was one of the most popular subjects for 18th century art writers. The first description of the work was provided by Pliny the Elder who, in the 36th volume of his Naturalis historia, calls it the best work of the art in the world – be it painting or sculpture. Pliny identifies three artists from Rhodes – Hagesandros, Polydoros and Athenedorus – as the authors of the Laocoön Group. After the sculpture was found in the vicinity of the Basilica of Santa Maria Maggiore, the Laocoön has repeatedly aroused the interest of art historians. Johann Joachim Winckelmann raised the sculptural group into focus during the Age of Enlightenment. And his positions, and sometimes opposition to them, form the basis of Gotthold Ephraim Lessing’s, Johann Gottfried Herder’s and Johann Wolfgang Goethe’s writings on the Laocoön. I am sure that their thoughts deserve also attention today, when we speak about the fundamental change in philosophy, philology, and partially also in art history. In seeking an answer to Lessing’s question, “Why does Laocoön not cry in marble but in poetry?” Can art speak? And if it can, how? The first stage of the article explores the contradictory nature of word and picture, in which regard both Lessing and Herder preferred the former. The second question that arises in the article is: What are the framework and boundaries of art writing as a method of art history for ascertaining and describing the internal nature of a work of art? And further, do words enable one to arrive at the deeper layers of a work and the reason for the act of creation? And if so, to what extent? The third and most important issue examined in the article is the two possible approaches to a work of art, and visual images more generally – the analytical and phenomenological. By relying on history, and the broadly accepted methods of the narrative, sociological, biographical, and other sciences contingent on it, the epistemological nature of art has remained outside the conceivable limits of scientific language. And as such, it has reduced the possibility of understanding pictures and finding them a place in today’s scale of assessments; of speaking not only about the external and measurable parameters, but also about works of art as unique phenomena, in which an invisible and metaphysical content exists in addition to that which is inherent to the visible and the describable. Just as much as our rudiments of rationality and logical analysis help us to understand works of art, their impact relies on a subjective readiness to receive artistic experiences, which according to Goethe, transform the Laocoön into something affectively animated in the torchlight. Art is usually revealed by in-depth sources via the contemplative reflection that follows sensory experiences. Since Longinus’s time, this has been described as sublimity, and it garnered supporters in the form of the Neo-Platonic authors of the Renaissance, whose role in 18th century aesthetics is just as significant as the art history tradition based on classical archaeological research. In the writings of Winckelmann, and those who followed him, the two poles of this approach to art are tightly merged. The author’s goal is to draw attention to ways of understanding and writing about art, besides the descriptive methods and those related to history; to those that focus on the processes related to the gnoseological side and to subconscious creation, and provide a place for words and their power to create ever newer and more expressive metaphors. One possibility for translating visual images into verbal form is to adopt the breadth of poetry and its language, which truthfully, being just as ambiguous and inexplicable as art, enables us to make the indescribable describable; via a work of art as the initial idea, and the work that informs us of this idea as a series of formed images that can be assessed as pictures that describe the spiritual image (or eidolon in Greek).

Trata-se de um estudo de revisão integrativa sobre o autocuidado de pacientes idosos com cardiopatia. Tendo como objetivo geral conhecer as possibilidades de atuação do enfermeiro gerontólogo para apoio ao autocuidado de idosos com cardiopatias. Foram pesquisados artigos científicos na plataforma BVS, sendo encontrados 68 estudos, após refinar a pesquisa de acordo com o tema, restaram 4 pesquisas que compuseram o escopo do estudo. Sendo 3 estudos realizados em 2015 e 1 em 2017, 2 qualitativos e 2 ensaios clínico. Foram utilizadas várias de estratégias para autocuidado: cuidado em grupo, individual e com uso da tecnologia de envio de mensagens via telefone. Conclui-se que o enfermeiro gerontológico em sua prática poderá utilizar estratégias em grupo e/ou monitoramento individual para estabelecer o autocuidado. Ambas as ações foram eficazes para promoção da saúde e para favorecer assim a qualidade de vida de pacientes idosos com cardiopatia.
 Descritores: Idoso, Cardiopatias, Autocuidado, Enfermagem Geriátrica.
 
 Self-care of elderly people with heart disease: an integrative review
 Abstract: This is an integrative review study on the self-care of elderly patients with heart disease. The general objective is to know the possibilities of the gerontologist nurse's role to support the self-care of elderly people with heart disease. Scientific articles were searched on the VHL platform, being found 68 studies, after refining the research according to the theme, there remained 4 researches that made up the scope of the study. With 3 studies conducted in 2015 and 1 in 2017, 2 qualitative and 2 clinical trials. Several strategies for self-care were used: group and individual care and the use of telephone messaging technology. It is concluded that gerontological nurses in their practice can use group strategies and/or individual monitoring to establish self-care. Both actions were effective in promoting health and thus favoring the quality of life of elderly patients with heart disease.
 Descriptors: Elderly, Heart Diseases, Self-Care, Geriatric Nursing.
 
 Autocuidado de personas mayores con cardiopatías: una revisión integradora
 Resumen: Se trata de un estudio de revisión integradora sobre el autocuidado de pacientes ancianos con cardiopatías. El objetivo general es conocer las posibilidades de las acciones de las enfermeras gerontológicas para apoyar el autocuidado de las personas mayores con cardiopatías. Se buscaron artículos científicos en la plataforma BVS, encontrándose 68 estudios, luego de afinar la investigación según la temática, quedaron 4 investigaciones que conformaron el alcance del estudio. Con 3 estudios realizados en 2015 y 1 en 2017, 2 ensayos cualitativos y 2 clínicos. Se utilizaron varias estrategias de autocuidado: atención grupal e individual y uso de tecnología de mensajería telefónica. Se concluye que el enfermero gerontológico en su práctica puede utilizar estrategias grupales y / o seguimiento individual para establecer el autocuidado. Ambas acciones fueron efectivas para promover la salud y así favorecer la calidad de vida de los pacientes ancianos con cardiopatías.
 Descriptores: Anciano, Cardiopatías, Autocuidado, Enfermería Geriátrica.

Introdução: O grupo de estudos remoto como ação do projeto de extensão surge a partir do isolamento social, causado pela pandemia, e da necessidade de complementação do conhecimento sobre um recurso de tecnologia assistiva desenvolvido por terapeutas ocupacionais – as órteses. Objetivo: Descrever as potencialidades de uma ação remota de extensão em órteses na formação discente em Terapia Ocupacional. Métodos: Trata-se de uma pesquisa de abordagem quantitativa, de cunho exploratório-descritivo. Os dados foram coletados via questionário, com perguntas fechadas de múltipla escolha e enviado para discentes integrantes do grupo de estudos remoto, com participação mínima de dois encontros, por contato eletrônico. Resultados: Percebe-se que o grupo de estudos remoto impacta positivamente na formação (80%), principalmente pelo acesso aos artigos científicos atualizados, pela troca de informações sobre a temática estudada e pelo conhecimento em relação a diferentes modelos de órteses dispensadas (100%). Observa-se que, mesmo com o retorno presencial das atividades acadêmicas, tem-se a possibilidade de manter as atividades de forma remota (40%), uma vez que o grupo de estudos tem seus benefícios para a formação enquanto futuro profissional (93,3%), sendo uma ferramenta na articulação entre ensino, pesquisa e extensão (86,7%). Conclusão: Independentemente do retorno presencial nas instituições de ensino, o grupo de estudos, remoto ou não, é importante para a formação, especialmente para complementar o conhecimento teórico sobre órteses.Palavras-chave: Disseminação de Informação. Educação à Distância. Relações Comunidade-Instituição. Aparelhos Ortopédicos. Terapia Ocupacional Abstract Introduction: The remote study group, as an action of the extension project, arises from the social isolation caused by the pandemic and the need to complement knowledge about an assistive technology resource developed by occupational therapists – orthotics. Objective: To describe the potential of a remote action of extension in orthotics in student training in Occupational Therapy. Method: It is a research with a quantitative approach, of an exploratory-descriptive nature. Data were collected through a questionnaire with multiple-choice closed-ended questions, and sent to students who were part of the remote study group, with a minimum participation of two meetings, by electronic contact. Results: It can be seen that the remote study group has a positive impact on academic training (80%), mainly due to access to up-to-date scientific articles, the exchange of information on the subject studied and knowledge regarding different models of orthoses dispensed (100%). It is observed that even with the face-to-face return of academic activities, there is the possibility of maintaining the activities in a remote way (40%), since the study group has its benefits for training as a future professional (93.3%), being a tool in the articulation between teaching, research and extension (86.7%). Conclusion: Regardless of face-to-face return of activities in educational institutions, the study group, remote or not, is important for academic training, especially to complement theoretical knowledge about orthotics.Keywords: Information Dissemination. Education, Distance. Community-Institution Relations. Orthotic Devices. Occupational Therapy ResumenIntroducción: El grupo de estudio remoto, como acción del proyecto de extensión, surge a partir del aislamiento social provocado por la pandemia y la necesidad de complementar conocimientos sobre un recurso de tecnología asistiva desarrollado por terapeutas ocupacionales - ortesis. Objetivo Describir el potencial de una acción remota de extensión en ortesis en la formación de estudiantes en Terapia Ocupacional. Método: Se trata de una investigación con abordaje cuantitativo, de carácter exploratorio-descriptivo. Los datos fueron recolectados a través de un cuestionario con preguntas cerradas de opción múltiple, y enviados a los estudiantes que formaban parte del grupo de estudio remoto, con una participación mínima de dos encuentros, por contacto electrónico. Resultados: Se percibe que el grupo de estudio remoto tiene un impacto positivo en la formación (80%), principalmente por el acceso a artículos científicos actualizados, el intercambio de información sobre el tema estudiado y el conocimiento sobre diferentes modelos de ortesis dispensadas (100%). Se observa que aún con el regreso presencial de las actividades académicas es posible mantener las actividades de manera remota (40%), ya que el grupo de estudio tiene sus beneficios para la formación como futuro profesional (93,3 %), siendo una herramienta en la articulación entre docencia, investigación y extensión (86,7%). Conclusión: Independientemente de la retroalimentación presencial en las instituciones educativas, el grupo de estudio, remoto o no, es importante para la formación, sobre todo para complementar los conocimientos teóricos sobre ortesis.Palabras clave: Difusión de la Información. Educación a Distancia. Relaciones Comunidad-Institución. Aparatos Ortopédicos. Terapia Ocupacional

Статья посвящена анализу архивных фотодокументов 1860–1870-х годов, находящихся в коллекции Музея антропологии и этнографии им. Петра Великого (Кунсткамера) РАН, и изобразительных материалов, созданных на их основе. Комплекс этих изображений отражает тенденции второй половины XIX в. в визуализации этнических черт, когда нужный эффект достигался как с помощью различных выразительных средств, так и манипуляциями с зафиксированной информацией через компиляцию, ретушь и текстовое сопровождение. Анализ содержания при сравнении оригинальных и вторичных данных показывает, как искусственное насыщение информацией и объединение эстетических подходов отражались на достоверности этнической репрезентации. Примеры обработки фотодокументов и технологии создания на их основе новых, описанные в тексте, позволяют представить масштабы и вариации существовавшего явления. Сравнение изменений, произошедших с изображениями во временном и пространственном движении, выявляет смысловые и коннотационные трансформации. В статье рассмотрена музейная история фотоколлекции МАЭ № 106А, проанализированы атрибуции, повлиявшие на трансформацию информативных возможностей ряда документов и изменившие этнические и исторические факты. Особое внимание уделено тому, как нюансированно менялись контексты с помощью незначительных доработок как визуального текста, так и текста вербального. Описаны несколько вариантов создания вторичных документов – рисунков на основе фотографий – для научного иллюстрирования текста о путешествии О. Финша и А. Брема и в художественных произведениях с этнической тематикой М. С. Знаменского. Вопрос о достоверности изображения, особенно если оно раннее, должен обязательно подниматься при обработке фотодокумента. Не только критика фотографии, но и простое иллюстрирование текстов визуальными данными невозможны без предварительного изучения как самого изображения, так и сопроводительной документации. Анализ художественных работ сложнее, так как здесь исследование необходимо начинать с поиска первоисточников, послуживших основой для создания произведения. The article examines the archival photo documents of the 1860s–1870s, stored in the Peter the Great Museum of Anthropology and Ethnography (Kunstkamera) of the Russian Academy of Sciences, and graphic materials created on their basis. These images reflect the trends of the second half of the 19th century in the visualization of ethnic features. The desired effect was achieved both through various expressive means and by manipulating the recorded information via compilation, retouching and textual accompaniment. The author’s aesthetic vision of beauty and exoticism often dominated in these pictures. Saturation with visual information was more likely to attract clients to purchase such an image. The comparison of the original and secondary data shows how the artificial information content and the integration of aesthetic approaches were reflected in the specificity of ethnic representation. The careful investigation of specific im-ages suggests where to look for difficult situations, allows avoiding loose interpretation and supporting the conclusions with specific facts. The museum received Collection No. 106 from the scientist Ivan Polyakov. The collection of photos is heterogeneous and includes two sets of documents: (1) prints acquired from various photographers during trips across the Russian Em-pire: the Caucasus, Siberia, the Volga region, Kazakhstan; (2) prints of photos Polyakov took during his own expedition along the Ob River to study local people. The history of the collection demonstrates how difficult it is to find out the origin of a photographic document and then to study its content. An example of changing attribution for a set of six photos from the collection is considered in the text. This group of documents is interesting because it vividly demonstrates conventions in depicting gender and national differences. All the photos show the same man. However, in three of them, he presents three variants of the Samoyed male costume; in the oth-er three, two variants of the female costume. The attribution of the photos is not clear to date. It is known that they were displayed at the ethnographic exhibition in Moscow in 1867 as images of the European group of Samoyeds (Nenets people) from Arkhangelsk Province. However, in the museum’s collection, they are registered with the title “Ostyak and Samoyed Winter Cos-tumes”. We can see how this change of attribution is reflected in the illustration and text error in the book about travel across Russia by Otto Finsch and Alfred Brehm. In the second part of the article, photo documents are considered as a source for creating graphic art works, in particular by the artist Mikhail Znamensky. Three color drawings, whose objects he borrowed from the prints of Collection No. 106, are analyzed in detail. Znamensky combined the objects with visu-al data from other sources and created new works of his own. The artist placed earlier samples into the new pieces of art. As a result, the original context presented in the original source was lost or altered. People drawn from photographs were assigned activities they did not do or this information was not embedded in the original image. The author colored his images copied from monochrome photographs and chose the color of the clothes at his discretion. The characters taken from different documents and placed in the narrative of the combined pictures turned out to be connected with each other by different semiotic links and created contexts in the new plots. Thus, representing various phenomena and cultures, a community of characters and events from different-time documents was created. This gave rise to unification and created ethnic stereotypes. Undoubtedly, people who created such constructs were more than far from thinking about a conscious falsification of data and from understanding that, in the historical perspective, the analysis of their compilations can lead to false conclusions. Their work, which concentrated information, responded to the needs of their time; it allowed contemporaries to see the diversity of life, without reference to special literature.

Background Care home residents are mainly inactive, leading to increased dependency and low mood. Although exercise classes may increase activity, a more sustainable model is to engage staff and residents in increasing routine activity. Objectives The objectives were to develop and preliminarily test strategies to enhance the routine physical activity of care home residents to improve their physical, psychological and social well-being through five overlapping workstreams. Design This trial had a mixed-methods research design to develop and test the feasibility of undertaking an evaluative study consisting of gaining an understanding of the opportunities for and barriers to enhancing physical activity in care homes (workstream 1); testing physical activity assessment instruments (workstream 2); developing an intervention through a process of intervention mapping (workstream 3); refining the provisional intervention in the care home setting and clarifying outcome measurement (workstream 4); and undertaking a cluster randomised feasibility trial of the intervention [introduced via three facilitated workshops at baseline (with physiotherapist input), 2 weeks (with artist input) and 2 months], with embedded process and health economic evaluations (workstream 5). Setting The trial was set in 12 residential care homes differing in size, location, ownership and provision in Yorkshire, UK. Participants The participants were elderly residents, carers, managers and staff of care homes. Intervention The intervention was MoveMore, designed for the whole home, to encourage and support the movement of residents in their daily routines. Main outcome measures The main outcome measures related to the feasibility and acceptability of implementing a full-scale trial in terms of recruitment and retention of care homes and residents, intervention delivery, completion and reporting of baseline data and outcomes (including hours of accelerometer wear, hours of sedentary behaviour and hours and type of physical activity), and safety and cost data (workstream 5). Results Workstream 1 – through a detailed understanding of life in a care home, a needs assessment was produced, and barriers to and facilitators of activity were identified. Key factors included ethos of care; organisation, management and delivery of care; use of space; and the residents’ daily routines. Workstream 2 – 22 (73.3%) out of 30 residents who wore a hip accelerometer had valid data (≥ 8 hours on ≥ 4 days of the week). Workstream 3 – practical mechanisms for increasing physical activity were developed, informed by an advisory group of stakeholders and outputs from workstreams 1 and 2, framed by the process of intervention mapping. Workstream 4 – action groups were convened in four care homes to refine the intervention, leading to further development of implementation strategies. The intervention, MoveMore, is a whole-home intervention involving engagement with a stakeholder group to implement a cyclical process of change to encourage and support the movement of residents in their daily routines. Workstream 5 – 12 care homes and 153 residents were recruited to the cluster randomised feasibility trial. Recruitment in the care homes varied (40–89%). Five care homes were randomised to the intervention and seven were randomised to usual care. Predetermined progression criteria were recruitment of care homes and residents (green); intervention delivery (amber); and data collection and follow-up – 52% of residents provided usable accelerometer data at 9 months (red), > 75% of residents had reported outcomes at 9 months (green, but self-reported resident outcomes were red), 26% loss of residents to follow-up at 9 months [just missing green criterion (no greater than 25%)] and safety concerns (green). Limitations Observations of residents’ movements were not conducted in private spaces. Working with care home residents to identify appropriate outcome measures was challenging. Take-up of the intervention was suboptimal in some sites. It was not possible to make a reliably informed decision on the most appropriate physical activity end point(s) for future use in a definitive trial. Conclusions A whole-home intervention was developed that was owned and delivered by staff and was informed by residents and staff. The feasibility of conducting a cluster randomised controlled trial was successfully tested: the target numbers of care homes and residents were recruited, demonstrating that it is possible to recruit care home residents to a cluster randomised trial, although this process was time-consuming and resource heavy. A large data set was collected, which provided a comprehensive picture of the environment, residents and staff in care homes. Extensive quantitative and qualitative work comprehensively explored a neglected area of health and social care research. Completion of ethnographic work in a range of settings enabled the production of an in-depth picture of life in care homes that will be helpful for other researchers considering organisational change in this setting. Future work The content and delivery of the intervention requires optimisation and the outcome measurement requires further refinement prior to undertaking a full trial evaluation. Consideration could be given to a recommended, simplified, core outcome set, which would facilitate data collection in this population. Trial registration Current Controlled Trials ISRCTN16076575. Funding This project was funded by the National Institute for Health Research (NIHR) Programme Grant for Applied Research programme and will be published in full in Programme Grant for Applied Research; Vol. 9, No. 9. See the NIHR Journals Library website for further project information.

Neste artigo procuro apresentar a trajetória do artista José de Barros nascido na cidade deRecife em Pernambuco nordeste do Brasil em 1943 e falecido, na mesma cidade, em 1994 doséculo vinte. Sua incursão no campo das artes se deu, sobretudo, em meados dos anos 1970à década de 1990 marcando sua inserção no meio artístico via participação em exposições,sendo assunto da escrita critica de arte na imprensa, se vinculando a algumas instituiçõesformativas em arte e via relações de amizade e trabalho com artistas já consagrados. Nesseartigo defendo a idéia que o contexto cultural, político e social dos anos 1970, o grupo deamigos com o qual compartilha ideias, práticas e modos de fazer, sentimentos e visões demundo o conduziu a posturas - no campo das artes e da vida - próximas do que ficou rotuladopor desbunde e experimentalismo. De outra parte, enfatizo sua importância, comoprofessor de artes plásticas no âmbito da formação “do artista e ou docência em arte”.Palavras Chaves: História da Arte Brasileira; Ensino da Arte; José de Barros; Trajetória; Experimentalismo;Desbumde; Pernambuco.AbstractThe purpose of this article is to present he life trajectory of the artist José de Barrosborn in the city of Recife, Pernambuco, in 1943 and died in 1994 in the same city. Hisimmersion into the arts happened especially from the 70’s until the 90’s participating inexpositions, receiving critics on the press, joining some art formation institutions andvia his friend and collaborations with consecrated artists. I defend the idea that the cultural,political and social context of the 70’s, his group of friends with whom he sharedhis ideas, led him to specific postures – in his personal and professional life – correspondingtowhatwasnameddesbundeandexperimentalism.Ontheotherhand, I emphasize hisimportance as an art teacher in the formation of the artist or the art teachers.Keywords: BrazilianArtHistory; TeachingofArts; Jose de Barros; Life Trajectory; Experimentalism;Desbunde; Pernambuco.

PurposeThe purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.Design/methodology/approachInterview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.FindingsWhen artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.Originality/valueA consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.

To understand the relation between artistic reputation and sales prices from popular online auction sites, we analyzed over 3,000 online auction sales of 87 American artists who had expertise in watercolor using the websites eBay, LiveAuctioneers, and EBTH. Traditional indexes of reputation were measured by museum placements, as well as archival holdings, and book references and we also included the number of Instagram mentions. We used hierarchical linear modeling to investigate the relation of reputation with average prices as well as price trends over time, controlling for individual painting characteristics such as size and medium. All of our artistic reputation indicators, including number of Instagram hashtag references, were positively related to the average sales price per artist. Our results extend the literature on the role of artistic reputation to account for social media via Instagram, as well as provide one of the first empirical investigations of popular online art auctions.

In large, complex societies, assorting with others with similar social norms or behaviors can facilitate successful coordination and cooperation. The ability to recognize others with shared norms or behaviors is thus assumed to be under selection. As a medium of communication, human art might reflect fitness-relevant information on shared norms and behaviors of other individuals thus facilitating successful coordination and cooperation. Distinctive styles or patterns of artistic design could signify migration history, different groups with a shared interaction history due to spatial proximity, as well as individual-level expertise and preferences. In addition, cultural boundaries may be even more pronounced in a highly diverse and socially stratified society. In the current study, we focus on a large corpus of an artistic tradition called kolam that is produced by women from Tamil Nadu in South India (N = 3, 139 kolam drawings from 192 women) to test whether stylistic variations in art can be mapped onto caste boundaries, migration and neighborhoods. Since the kolam art system with its sequential drawing decisions can be described by a Markov process, we characterize variation in styles of art due to different facets of an artist's identity and the group affiliations, via hierarchical Bayesian statistical models. Our results reveal that stylistic variations in kolam art only weakly map onto caste boundaries, neighborhoods, and regional origin. In fact, stylistic variations or patterns in art are dominated by artist-level variation and artist expertise. Our results illustrate that although art can be a medium of communication, it is not necessarily marked by group affiliation. Rather, artistic behavior in this context seems to be primarily a behavioral domain within which individuals carve out a unique niche for themselves to differentiate themselves from others. Our findings inform discussions on the evolutionary role of art for group coordination by encouraging researchers to use systematic methods to measure the mapping between specific objects or styles onto groups.

At the start of the twentieth century, many young Australian artists travelled abroad to expand their art education and to gain exposure to the modern art movements of Europe. Most of these artists were active members of artist associations such as the Victorian Artists Society or the New South Wales Society of Artists. Male artists from Victoria were generally also members of the Melbourne Savage Club, a club with a strong association with the arts.This paper investigates the dual function of the club, as a space where the artists felt “at home” in the familiar environment that the club offered whilst they were abroad and, at the same time, a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London would have a significant impact on male Australian artists, as it offered a space where they were integrated into the English art world, which enhanced their experience whilst abroad.Artists were seldom members of Australia’s early gentlemen’s clubs, however, in the late nineteenth century Melbourne, artists formed less formal social groupings with exotic names such as the Prehistoric Order of Cannibals, the Buonarotti Club, and the Ishmael Club (Mead). Melbourne artists congregated in these clubs until the Melbourne Savage Club, modelled on the London Savage Club (1857)—a club whose membership was restricted to practitioners in the performing and visual arts—opened its doors in 1894.The Melbourne Savage Club had its origins in the Metropolitan Music Club, established in the late 1880s by a group of professional and amateur musicians and music lovers. The club initially admitted musicians and people from the dramatic professions free-of-charge, however, author Randolph Bedford (1868–1941) and artist Alf Vincent (1874–1915) were not content to be treated on a different basis to the musicians and actors, and two months after Vincent joined the club, at a Special General Meeting, the club resolved to vary Rule 6, “to admit landscape or portrait painters and sculptors without entrance fee” (Melbourne Savage Club). At another Special General Meeting, a year later, the rule was altered to admit “recognised members of the musical, dramatic and artistic professions and sculptors without payment of entrance fee” (Melbourne Savage Club).This resulted in an immediate influx of prominent Victorian male artists (Williams) and the Melbourne Savage Club became their place of choice to gather and enjoy the fellowship the club offered and to share ideas in a convivial atmosphere. When the opportunity arose for them to travel to London in the early twentieth century, they met in London’s famous art clubs. Membership of the Melbourne Savage Club not only conferred rights to visit reciprocal clubs whilst in London, but also facilitated introductions to potential patrons. The London clubs were the venue of choice for visiting artists to meet their fellow artist expatriates and to share experiences and, importantly, to meet with their British counterparts, exhibit their works, and establish valuable contacts.The London Savage Club attracted many Australian expatriates. Not only is it the grandfather of London’s bohemian clubs but also it was the model for arts clubs the world over. Founded in 1857, the qualification for admission was (and still is) to be, “a working man in literature or art, and a good fellow” (Halliday vii). If a candidate met these requirements, he would be cordially received “come whence he may.” This was embodied in the club’s first rules which required applicants for membership to be from a restricted range of pursuits relating to the arts thought to be commensurate with its bohemian ideals, namely art, literature, drama, or music.The second London arts club that attracted expatriate Australian artists was the New English Arts Club, founded in 1886 by young English artists returning from studying art in Paris. Members of The New English Arts Club were influenced by the Impressionist style as opposed to the academic art shown at the Royal Academy. As a meeting place for Australia’s expatriate artists, the New English Arts Club had a particular influence, as it exposed them to significant early Modern artist members such as John Singer Sargent (1856–1925), Walter Sickert (1860–1942), William Orpen (1878–1931) and Augustus John (1878–1961) (Corbett and Perry; Thornton; Melbourne Savage Club).The third, and arguably the most popular with the expatriate Australian artists’ club, was the Chelsea Arts Club, a bohemian club formed in 1891 by local working artists looking for a place to go to “meet, talk, eat and drink” (Cross).Apart from the American-born founding member, James McNeill Whistler (1834–1903), amongst the biggest Chelsea names at the time of the influx of travelling young Australian artists were modernists Sir William Orpen, Augustus John, and John Sargent. The opportunity to mix with these leading British contemporary artists was irresistible to these antipodean artists (55).When Melbourne artist, Miles Evergood (1871–1939) arrived in London from America in 1910, he had been an active exhibiting member of the Salmagundi Club, a New York artists’ club. Almost immediately he joined the New English Arts Club and the Chelsea Arts Club. Hammer tells of him associating with “writer Israel Zangwill, sculptor Jacob Epstein, and anti-academic artists including Walter Sickert, Augustus John, John Lavery, John Singer Sargent and C.R.W. Nevison, who challenged art values in Britain at the beginning of the century” (Hammer 41).Arthur Streeton (1867–1943) used the Chelsea Arts Club as his postal address, as did many expatriate artists. The Melbourne Savage Club archives contain letters and greetings, with news from abroad, written from artist members back to their “Brother Savages” (Various).In late 1902, Streeton wrote to fellow artist and Savage Club member Tom Roberts (1856–1931) from London:I belong to the Chelsea Arts Club now, & meet the artists – MacKennel says it’s about the most artistic club (speaking in the real sense) in England. … They all seem to be here – McKennal, Longstaff, Mahony, Fullwood, Norman, Minns, Fox, Plataganet Tudor St. George Tucker, Quinn, Coates, Bunny, Alston, K, Sonny Pole, other minor lights and your old friend and admirer Smike – within 100 yards of here – there must be 30 different studios. (Streeton 94)Whilst some of the artists whom Streeton mentioned were studying at either the Royal Academy or the Slade School, it was the clubs like the Chelsea Arts Club where they were most likely to encounter fellow Australian artists. Tom Roberts was obviously attentive to Streeton’s enthusiastic account and, when he returned to London the following year to work on his commission for The Big Picture of the 1901 opening of the first Commonwealth Parliament, he soon joined. Roberts, through his expansive personality, became particularly active in London’s Australian expatriate artistic community and later became Vice-President of the Chelsea Arts Club. Along with Streeton and Roberts, other visiting Melbourne Savage Club artists joined the Chelsea Arts Club. They included, John Longstaff (1861–1941), James Quinn (1869–1951), George Coates (1869–1930), and Will Dyson (1880–1938), along with Sydney artists Henry Fullwood (1863–1930), George Lambert (1873–1930), and Will Ashton (1881–1963) (Croll 95). Smith describes the exodus to London and Paris: “It was the Chelsea Arts Club that the Heidelberg School established its last and least distinguished camp” (Smith, Smith and Heathcote 152).Streeton, who retained his Chelsea Arts Club membership when he returned for a while to Australia, wrote to Roberts in 1907, “I miss Chelsea & the Club-boys” (Streeton 107). In relation to Frederick McCubbin’s pending visit he wrote: “Prof McCubbin left here a week ago by German ‘Prinz Heinrich.’ … You’ll introduce him at the Chelsea Club and I hope they make him an Hon. Member, etc” (Streeton et al. 85). McCubbin wrote, after an evening at the Chelsea Arts Club, following a visit to the Royal Academy: “Tonight, I am dining with Australian artists in Soho, and shall be there to greet my old friends. How glad I am! Longstaff will be there, and Frank Stuart, Roberts, Fullwood, Pontin, Coates, Quinn, and Tucker’s brother, and many others from all around” (MacDonald, McCubbin and McCubbin 75). Impressed by the work of Turner he wrote to his wife Annie, following avisit to the Tate Gallery:I went yesterday with Fullwood and G. Coates and Tom Roberts for a ramble … to the Tate Gallery – a beautiful freestone building facing the river through a portico into the gallery where the lately found turners are exhibited – these are not like the greater number of pictures in the National Gallery – they represent his different periods, but are mostly in his latest style, when he had realised the quality of light (McCubbin).Clearly Turner’s paintings had a profound impression on him. In the same letter he wrote:they are mostly unfinished but they are divine – such dreams of colour – a dozen of them are like pearls … mist and cloud and sea and land, drenched in light … They glow with tender brilliancy that radiates from these canvases – how he loved the dazzling brilliancy of morning or evening – these gems with their opal colour – you feel how he gloried in these tender visions of light and air. He worked from darkness into light.The Chelsea Arts Club also served as a venue for artists to entertain and host distinguished visitors from home. These guests included; Melbourne Savage Club artist member Alf Vincent (Joske 112), National Gallery of Victoria (NGV) Trustee and popular patron of the arts, Professor Baldwin Spencer (1860–1929), Professor Frederick S. Delmer (1864–1931) and conductor George Marshall-Hall (1862–1915) (Mulvaney and Calaby 329; Streeton 111).Artist Miles Evergood arrived in London in 1910, and visited the Chelsea Arts Club. He mentions expatriate Australian artists gathering at the Club, including Will Dyson, Fred Leist (1873–1945), David Davies (1864–1939), Will Ashton (1881–1963), and Henry Fullwood (Hammer 41).Most of the Melbourne Savage Club artist members were active in the London Savage Club. On one occasion, in November 1908, Roberts, with fellow artist MacKennal in the Chair, attended the Australian Artists’ Dinner held there. This event attracted twenty-five expatriate Australian artists, all residing in London at the time (McQueen 532).These London arts clubs had a significant influence on the expatriate Australian artists for they became the “glue” that held them together whilst abroad. Although some artists travelled abroad specifically to take up places at the Royal Academy School or the Slade School, only a minority of artists arriving in London from Australia and other British colonies were offered positions at these prestigious schools. Many artists travelled to “try their luck.” The arts clubs of London, whilst similarly discerning in their membership criteria, generally offered a visiting “brother-of-the-brush” a warm welcome as a professional courtesy. They featured the familiar rollicking all-male “Smoke Nights” a feature of the Melbourne Savage Club. With a greater “artist” membership than the clubs in Australia, expatriate artists were not only able to catch up with their friends from Australia, but also they could associate with England’s finest and most progressive artists in a familiar congenial environment. The clubs were a “home away from home” and described by Underhill as, “an artistic Earl’s Court” (Underhill 99). Most importantly, the clubs were a centre for discourse, arguably even more so than were the teaching academies. Britain’s leading modernist artists were members of the Chelsea Arts Club and the New English Arts Club and mixed freely with the visiting Australian artists.Many Australian artists, such as Miles Evergood and George Bell (1878–1966), held anti-academic views similar to English club members and embraced the new artistic trends, which they would bring back to Australia. Streeton had no illusions about the relative worth of the famed institutions and the exhibitions held by clubs such as the New English. Writing to Roberts before he joins him in London, he describes the Royal Academy as having, “an inartistic atmosphere” and claims he “hasn’t the least desire to go again” (Streeton 77). His preference lay with a concurrent “International Exhibition”, which featured works by Rodin, Whistler, Condor, Degas, and others who were setting the pace rather than merely continuing the academic traditions.Architect Hardy Wilson (1881–1955) served as secretary of The Chelsea Arts Club. When he returned to Australia he brought back with him a number of British works by Streeton and Lambert for an exhibition at the Guild Hall Melbourne (Underhill 92). Artists and Bohemians, a history of the Chelsea Arts Club, makes special reference of its world-wide contacts and singles out many of its prominent Australian members for specific mention including; Sir John William (Will) Ashton OBE, later Director of the Art Gallery of New South Wales, and Will Dyson, whose illustrious career as an Australian war artist was described in some detail. Dyson’s popularity led to his later appointment as Chairman of the Chelsea Arts Club where he initiated an ambitious rebuilding program, improving staff accommodation, refurbishing the members’ areas, and adding five bedrooms for visiting members (Bross 87-90).Whilst the influence of travel abroad on Australian artists has been noted, the importance of the London Clubs has not been fully explored. These clubs offered artists a space where they felt “at home” and a familiar environment whilst they were abroad. The clubs functioned as a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London had a significant impact on male Australian artists as it offered a space where they were integrated into the English art world which enhanced their experience whilst abroad and influenced the direction of their art.ReferencesCorbett, David Peters, and Lara Perry, eds. English Art, 1860–1914: Modern Artists and Identity. Manchester: Manchester University Press, 2000.Croll, Robert Henderson. Tom Roberts: Father of Australian Landscape Painting. Melbourne: Robertson & Mullens, 1935.Cross, Tom. Artists and Bohemians: 100 Years with the Chelsea Arts Club. 1992. 1st ed. London: Quiller Press, 1992.Gray, Anne, and National Gallery of Australia. McCubbin: Last Impressions 1907–17. 1st ed. Parkes, A.C.T.: National Gallery of Australia, 2009.Halliday, Andrew, ed. The Savage Papers. 1867. 1st ed. London: Tinsley Brothers, 1867.Hammer, Gael. Miles Evergood: No End of Passion. Willoughby, NSW: Phillip Mathews, 2013.Joske, Prue. Debonair Jack: A Biography of Sir John Longstaff. 1st ed. Melbourne: Claremont Publishing, 1994.MacDonald, James S., Frederick McCubbin, and Alexander McCubbin. The Art of F. McCubbin. Melbourne: Lothian Book Publishing, 1916.McCaughy, Patrick. Strange Country: Why Australian Painting Matters. Ed. Paige Amor. The Miegunyah Press, 2014.McCubbin, Frederick. Papers, Ca. 1900–Ca. 1915. Melbourne.McQueen, Humphrey. Tom Roberts. Sydney: Macmillan, 1996.Mead, Stephen. "Bohemia in Melbourne: An Investigation of the Writer Marcus Clarke and Four Artistic Clubs during the Late 1860s – 1901.” PhD thesis. Melbourne: University of Melbourne, 2009.Melbourne Savage Club. Secretary. Minute Book: Melbourne Savage Club. Club Minutes (General Committee). Melbourne: Savage Archives.Mulvaney, Derek John, and J.H. Calaby. So Much That Is New: Baldwin Spencer, 1860–1929, a Biography. Carlton, Vic.: Melbourne University Press, 1985.Smith, Bernard, Terry Smith, and Christopher Heathcote. Australian Painting, 1788–2000. 4th ed. South Melbourne, Vic.: Oxford University Press, 2001.Streeton, Arthur, et al. Smike to Bulldog: Letters from Sir Arthur Streeton to Tom Roberts. Sydney: Ure Smith, 1946.Streeton, Arthur, ed. Letters from Smike: The Letters of Arthur Streeton, 1890–1943. Melbourne: Oxford University Press, 1989.Thornton, Alfred, and New English Art Club. Fifty Years of the New English Art Club, 1886–1935. London: New English Art Club, Curwen Press 1935.Underhill, Nancy D.H. Making Australian Art 1916–49: Sydney Ure Smith Patron and Publisher. South Melbourne: Oxford University Press, 1991.Various. Melbourne Savage Club Correspondence Book: 1902–1916. Melbourne: Melbourne Savage Club.Williams, Graeme Henry. "A Socio-Cultural Reading: The Melbourne Savage Club through Its Collections." Masters of Arts thesis. Melbourne: Deakin University, 2013.

O presente Ensaio Visual reúne e apresenta parte da proposição artística chamada JAZIDA, desenvolvida junto ao grupo de pesquisa Lugares-Livro: dimensões poéticas e materiais, projeto ativo desde 2013 no Centro de Artes/UFPel, que busca propor o pensamento sobre a produção de livros em especial Livros de Artista. A proposição teve início com inventário bibliográfico existente na casa de cada um dos membros do grupo e realizado por via fotográfica a qual seguiu uma metodologia e culminou com uma colagem coletiva no tapume da obra de construção da Biblioteca do Instituto de Ciências Humanas/UFPel. MINEThis visual essay presents and reunites part of the proposition called JAZIDA (MINE), developed by the Research Group Book-Places: poetic dimensions and materials, a project of the Centro de Artes, Federal University of Pelotas(UFPel), active since 2013, which seeks to generate reflection about the production of books and, particularly, artists’ books. The proposition began with a bibliographical inventory of the books found at each group member’s home, using a specific methodology, culminating in a group collage posted on the plywood construction fence at the construction site of the Library of Human Sciences of UFPel, on the 22nd of April, 2015, on the eve of commemorating World Book Day.

AbstractThe study, dedicated to Beautiful Pietàs conserved in South Tyrol (Northern Italy), aims to establish, for the first time, a connection between Austroalpine raw materials and the high-fired gypsum mortars constituting the Gothic figure groups in question. The origin and chronology of this stylistically and qualitatively differing ensemble have been subject of art historical debate for nearly a century. The discourse is dominated by three main hypotheses: itinerary of an Austrian artist versus itinerary of the work of art created in an artist’s workshop in Austria versus itinerary of the stylistic vocabulary via graphical or three-dimensional models. The comparison of the δ34S values and the 87Sr/86Sr ratios of the gypsum mortars and Austroalpine sulphate deposits (in a compilation of own reference samples and literature data) points to the exploitation of sediments in the Salzkammergut and possibly also in the evaporite district of the Eastern Calcareous Alps, thus evidencing the import of the sculptures and not the activities of local South Tyrolean or itinerant artists. Two geochronological units are distinguishable: The Pietà in the Church St. Martin in Göflan can be assigned to Upper Permian raw material, whereas the metrologically consistent sculptures in the Church of Our Lady of the Benedictine Abbey Marienberg and in the Chapel St. Ann in Mölten correlate with deposits of the Early Triassic (or the Lower-Middle Triassic transition). The medieval gypsum mortars also differ in their mineralogical characteristics, i.e. in their geologically related minor components, as in the first case, characterised by a significant proportion of primary anhydrite, natural carbonate impurities mainly consist of calcite (partly converted to lime-lump-like aggregates), whereas in the second group dolomite (or rather its hydration products after pyrometamorphic decomposition) predominates, accompanied by celestine, quartz and potassium feldspar. The Pietà in the Cathedral Maria Himmelfahrt in Bozen turned out to be made of Breitenbrunn calcareous sandstone (Leitha Mountains, Burgenland, Austria), which is why the sample is not considered in the geochemical analysis. Graphical Abstract

IntroductionStigmatizing attitude toward patients with severe mental disorders is one of the main obstacles of improving the mental health of societies. Media plays an important role in how the public views mental health issues. Thus, we have performed this study to investigate the Iranian theater artists' mental health status, and their view toward patients with severe mental disorders.MethodsThis cross-sectional study was performed via an online anonymous survey including the Social Distance Scale and the Dangerousness Scale measuring the attitude of participants toward patients with severe mental disorders, and the 28-item General Health Questionnaire (GHQ-28). It was disseminated to artists who had the experience of working in theater in the past year in Iran.ResultsOur survey was responded by 104 artists. Social Distance Scale scores' mean was 10.67 (scores can range from 0 to 21) and the Dangerousness Scale scores' mean was 28.87 (scores can range from 8 to 56); higher scores indicate worse discrimination. Our participants' strongest fears were to let someone with a severe mental disorder to take care of their children, and for these groups of patients to obtain a hunting license. Twenty-six (25%) participants were at risk of moderate to severe anxiety, and 18 (17.3%) participants were at risk of moderate to severe depression.ConclusionBy and large, our participants did not have a positive attitude toward patients with severe mental disorders. Providing the knowledge of mental health issues can help the general public to be more tolerant of the mentally ill and specifically, theater can be employed to fight stigmatizing mental health issues by educating its audience.

This article features a reflexive iteration of engaged scholarship regarding the Queer Liberation Theory Project, a community-based research study with the social justice group Queer Ontario, which involves academics, activists, and artists, a number of whom are cross affiliated. We explore the tensions and challenges involved in developing and creating knowledge via an engaged scholarship process that must respect the historical philosophical perspectives of a social movement as well as today’s academic theories. This article addresses the challenges of developing new knowledge (a theory) that counters a powerful, neoliberal, mainstream segment of today’s lesbian, gay, bisexual, and transgender (LGBT) movements, with implications for society at large. The layered issues associated with engaged scholarship are disentangled, including vulnerability to neoliberalism, navigating competing perspectives, and how academics/activists/artists both understand and engage in knowledge creation.

Six co-researchers conducted a heuristic inquiry of a group experience composed of hundreds of video messages, posted consistently over 4 months, via the Marco Polo smartphone application, to explore the universal implications associated with this uniquely intimate experience. This diverse, artist-led group was composed of five individuals who identify as female and one individual who identifies as non-binary, of African and African American descent, from three states in the United States, with varying levels of income and education. According to the founder, the purpose of the group was to cultivate a space for “wellness through creativity, connection, and collaboration,” primarily for herself, but also for her closest friends. A formal study was necessary to illuminate the salient themes and generate findings from this serendipitous group process. Three themes emerged: (a) the group changed over time, in alignment with long-established theories of group work (i.e., forming, storming, norming, performing, and mourning/adjourning); (b) group members navigated conflict within the group and in dyads outside of the larger group; (c) and members experienced meaningful benefits and impacts as a result of participation, which supports the growing research on online mental health support groups. Implications for future research, training, and practice are provided.

We sought to understand the common interaction between music, information and visual art. The evoked affect of college students (N = 47, F = 35, M = 11, NB = 1) were measured via The Implicit Positive and Negative Affect Test (IPANAT) after a presentation of Francisco Goya's Black Paintings. There were three randomly assigned groups with a narration about the artist's life and the significance of his paintings (group N), classical music (group M) and both (group NM). Participant's art knowledge was also assessed, as determined by the Vienna Art Interest and Art Knowledge Questionnaire (VAIAK). Group NM reported significantly lower affect scores, indicating more intense emotional experiences as opposed to other two groups (N = 47, F(2)= 4.099, p = .023). The knowledge and interest scores had no effect on the affect score. The implications of the findings and potential explanations are discussed through the lens of different models of art perception.

AbstractThe objective of this research was to compare the sensory and cognitive performance of generations of consumers using artisanal tortillas. Four groups of generational consumers were evaluated (baby boomers, generation X, Y, and Z; n = 100 consumers per generational group). Three experiments were conducted: (1) use of the intensity scale, (2) determination of dominant attributes via TDS and (3) elicited emotions and memories. The results of the first experiment showed that baby boomers, generation X and Y had the best performance in terms of discrimination and consensus. The second experiment demonstrated that generation Z consumers identified dominant attributes of texture in mouth and the other generations identified corn flavor, nixtamal flavor, and sour taste attributes as dominant. Regarding the evaluation of emotions and memories, it was observed that as generations progress, more emotions, and memories were used. In this sense, generation Z was the one that used the most negative emotions and memories.Practical ApplicationsAnalyzing the generational effect can help researchers and tortilla manufacturers to the selection of generational consumer for the evaluation of artisanal, cross‐cultural, or industrialized foods.