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Aaftab, Mohsina. "INSTALLATION ART IN INDIA: CONCEPTS AND ROOTS". International Journal of Research -GRANTHAALAYAH 4, nr 10 (31.10.2016): 16–20. http://dx.doi.org/10.29121/granthaalayah.v4.i10.2016.2483.
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Present study focuses on the new media Installation Art in India, its present scenario, and backgrounds. Essentially installation art has taken its heritage from conceptual art, which came into prominence in 1970s, when the concept or idea was prominent – when an artist uses a conceptual form of art which means that all of the arrangement and conclusion are made previously and the implementation is an obligatory concern. So, spontaneously idea became a machine that makes the art. An idea suddenly pops in his mind and he just implemented it, in his very own way. This kind of art does not narrow itself to gallery spaces and can refer to any materials intervention in everyday public or private spaces. After India became independent, art began to change here. considerately several movements and group bounced up all over the country headed by ambitious young artists with vision of bringing modern art to India. Now the art of India is totally changed. Contemporaries are not bound to use paper and canvas, wall or any other art surfaces. They are not bound to make mythological paintings or sculptures but they are free to do anything, they are free to use any medium, material and space they want. After a European artist Marcel Duchamp’s “ready-mades artist” started exploring the margin of art, trying to eliminate the contrast between art and life. For conceptual artists art need not look like a traditional work of art. Presented study focuses on the installation work of Indian artists. Four artists were selected by the researcher viz. Subodh Gupta, Shilpa Gupta, Bharti Kher and ChintanUpadhaya. Researcher investigates the concepts behind the art work of selected artists, their methods and materials they have used in their art work. The selection of artist in current study is on the bases of their fame and popularity. Method of the current study is analytical.
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Mithlo, Nancy Marie. "Decentering Durham". American Indian Culture and Research Journal 43, nr 4 (1.10.2019): 25–28. http://dx.doi.org/10.17953/aicrj.43.4.2017.
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This section of the AICRJ special issue on fraud looks back to a 2017 group conversation (first published in First American Art Magazine no. 19 (Fall 2017): 84–89) as four Native American scholars and artists respond to the then-traveling retrospective exhibit Jimmie Durham: At the Center of the World in light of Durham’s long-standing claims to Cherokee identity. In “Decentering Durham,” Chiricahua Apache scholar Nancy Marie Mithlo argues that, “Cultural institutions continue to accept his platform, and, in doing so … deny Indigenous cultural sovereignty to name our own members and leaders.” Roy Boney Jr., a Cherokee artist, discusses Durham’s appropriation of the writings of historic statesman Zeke Proctor in “Not Jimmie Durham’s Cherokee.” In a “Walk-through at the Hammer,” Luiseño-Diegueño performance and installation artist James Luna (1950–2018) muses on the aesthetics of Durham’s work and the value of community belonging. Summarizing the 2017 perspective in “A Chapter Closed?,” artist and editor America Meredith (Cherokee Nation) hopes that, “after a multigenerational, multi-tribal effort … art historians and curators will cease … positioning [Durham] as our representative in academic literature.”
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Reynolds, Peter. "‘Remembering the Future’: Birmingham Contemporary Music Group, CBSO Centre, Birmingham". Tempo 70, nr 278 (28.09.2016): 86–87. http://dx.doi.org/10.1017/s0040298216000401.
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‘How do you deal with endings?’, Stephen Newbould, BCMG's Artistic Director, asked a group of four composers in an interview prior to the ensemble's final concert of the season, given on 12 June. Perhaps Newbould was thinking out loud: ‘Remembering the Future’ marked his and Executive Producer Jackie Newbould's last event with Birmingham Contemporary Music Group, after a tenure of nearly 30 years. The CBSO Centre was packed to the rafters for this concert that featured new commissions by Luke Bedford, Richard Baker, John Woolrich and Zoë Martlew: four composers with strong connections to the group. At the suggestion of John Woolrich, in his role as Artist-in-Association with BCMG, the works were scored not for BCMG's usual larger forces but for Schoenberg's ‘Pierrot’ ensemble, with various additions and subtractions.
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Susanto, Veren, i Suzy Azeharie. "Studi Komunikasi Budaya Fandom ARMY dan EXO-L (Studi Tentang Perbandingan Pemaknaan Simbol K-Pop)". Koneksi 6, nr 2 (2.11.2022): 272–77. http://dx.doi.org/10.24912/kn.v6i2.15609.
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Korean Pop or K-Pop is part of the hallyu wave. K-Pop music consists of many artists. Fans of each artist gathered and formed a group called fandom. Each fandom has a culture that distinguishes one fandom from another. Symbol is a form of message that contains meaning. Through the interaction between group members, symbols can be formed. Fandoms have their own culture and symbols are included in their culture. BTS and EXO are in the top 30 most popular K-Pop boy bands since June 2021. BTS fans named ARMY and EXO fans named EXO-L. Both fandoms have symbols that become cultural and have different forms and meanings. This research was conducted because there is no research that discusses the comparison of symbols between the two K-Pop fandoms and the process of these symbols entering the fandom so that they become culture. The theory used in this research is the theory of cultural communication and symbolic interaction. The study used a descriptive qualitative research approach with fenomenology research methods. The research data were obtained from in-depth interviews, participant observation, documentation, and literature study of four sources. The results show that symbols enter through the process of cultural communication and the same form and meaning of symbols from the ARMY and EXO-L fandoms can be created through communication between artists and fandoms or between fandom member. Korean Pop atau K-Pop adalah bagian dari hallyu wave. Musik K-Pop terdiri dari banyak artis. Penggemar tiap artis berkumpul dan membuat sebuah kelompok yang bernama fandom. Tiap fandom mempunyai budaya yang membedakan satu fandom dengan yang lainnya. Simbol merupakan salah satu bentuk pesan yang mengandung makna. Melalui interaksi antar anggota kelompok, simbol dapat terbentuk. Fandom mempunyai budaya sendiri dan simbol termasuk kedalam budaya mereka. BTS dan EXO masuk ke dalam 30 peringkat boy band K-Pop terpopuler sejak Juni 2021. BTS bernama ARMY dan penggemar EXO bernama EXO-L. Kedua fandom memiliki simbol yang menjadi budaya serta memiliki bentuk dan makna yang berbeda. Penelitian ini dilakukan karena belum ada penelitian yang membahas mengenai perbandingan simbol antara dua fandom K-Pop serta proses simbol tersebut masuk kedalam fandom sehingga menjadi budaya. Teori yang digunakan dalam penelitian ini adalah teori komunikasi budaya dan interaksi simbolik. Penelitian menggunakan pendekatan penelitian kualitatif deskriptif dengan metode penelitian fenomenologi. Data hasil penelitian diperoleh dari hasil wawancara mendalam, observasi berperan serta, dokumentasi, dan studi kepustakaan. Hasil penelitian menunjukkan bahwa simbol masuk melalui proses komunikasi budaya serta bentuk dan makna yang sama terhadap simbol dari fandom ARMY dan EXO-L dapat dibuat melalui komunikasi diantara artis dan fandom atau antar anggota fandom.
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Spivey, Virginia. "Sites of Subjectivity: Robert Morris, Minimalism, and Dance". Dance Research Journal 36, nr 1 (2004): 113–30. http://dx.doi.org/10.1017/s0149767700007592.
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Robert Morris's danceSite(Fig. 1) premiered in February 1964 at the Surplus Dance Theater in New York City. Choreographed and performed by Morris,Sitealso featured the visual artist Carolee Schneemann and several sheets of four-by-eight foot plywood. Although it may seem odd to include these wooden panels among the performers, they assumed an active role in the choreography. Ironically, it was Schneemann who provided the background scenery. Nude and covered in white paint, she sat motionless throughout the performance, recreating the pose and persona of Edouard Manet's famous 1863 painting ofOlympiawhile Morris manipulated the large wooden boards. In a graceful duet with inanimate partners, Morris spun the rectangular planes from a point on the ground, maneuvered them around his body, lifted them over his head, caressed their even form as he slowly moved his hand across one edge, and balanced the panels on his back as he moved across the stage. Not only did Morris never dance with Schneemann, he did not even seem to notice her.In a career spanning over forty years, Robert Morris has produced theoretical articles, paintings, videos, installations, and environmental art in addition to his work in dance; nevertheless, the American artist remains best known for his Minimalist sculptures of the 1960s (Figs. 2 and 3). Like the works of his colleagues Donald Judd and Carl Andre, Morris's spare, geometrical objects of that period were three-dimensional and called attention to issues of site and artistic context. They also resisted past artistic conventions based in subjective methods of composition, expressivity, and metaphor. Morris, however, distinguished himself among this group of visual artists by the emphasis he placed on the viewer's bodily relationship with the art object, a distinction that derives directly from his unique involvement in avant-garde dance.
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Ha, Sha. "An Intercultural Experience in European Art and Decorative Design by Chinese Students in Italy". Advances in Social Sciences Research Journal 9, nr 8 (31.08.2022): 483–93. http://dx.doi.org/10.14738/assrj.98.12948.
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The paper describes the encounter with Italian fine arts and decorative design by a group of 17 Chinese Junior High School, art loving students, during their 2019 summer vacations. According to a ‘cooperative learning’ strategy, the students had been subdivided into four groups, under the guidance of four Chinese teachers, each one responsible for a single group, and the assistance of an Italian artist and an expert teacher herself. During the period of two weeks the students visited historical buildings and museums in the art cities of Venice, Padua, Florence and Rome. In the evening, in the presence of their teachers, they took part to collective discussions on the meaning and impact on them of the most significant art works they encountered during the day. They also took part, in Padua, in an animated ‘active learning’ session in Jewelry Design. That intercultural experience turned out to be very stimulating for those students: part of them included the study of classical art/decorative design in their high school curricula.
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Nagel, Lisa, i Lise Hovik. "Presentation: The SceSam Project: Interactivity in Children´s Theatre". BUKS - Tidsskrift for Børne- & Ungdomskultur 33, nr 61 (15.04.2016): 13. http://dx.doi.org/10.7146/buks.v33i61.23446.
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SceSam is an artistic research project (2012-15) in which we have examined interactivity in performances for children (age 3-9) through theory and practice (Nagel and Hovik 2015). Organized as a team of researchers in a research group, practitioners and theoreticians have explored the complex landscape of interactive theatre for children through performances, in seminars, in workshops and in articles. Together with mentors from SceSam, four different artist/companies have developed their own interactive performances, researching different aspects of the performers´ relationships with the child audiences in workshops. Lisa Nagel is the artistic leader of the project, which she has developed together with fellow researcher Lise Hovik and producer Hege Knarvik Sande.
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Kristensen, Juliette. "Making Ways of Seeing: A Conversation with Mike Dibb and Richard Hollis". Journal of Visual Culture 11, nr 2 (25.07.2012): 181–95. http://dx.doi.org/10.1177/1470412912444228.
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In 1971, Stephen Hearst, head of the BBC Music and Arts department, commissioned John Berger to make a television series on topics of his choosing. With Mike Dibb, then a young producer/director in the department, Berger made the four-part television series Ways of Seeing. Following its success, BBC Publications commissioned Berger and Dibb to turn the television programme into a book, a project for which Richard Hollis, a graphic designer Berger had previously worked with on the magazine New Society and his novel G., was brought in. Together with script consultant Chris Fox and artist Sven Blomberg, this group produced the book Ways of Seeing, jointly published by the BBC and Penguin Books in 1972. In this conversation with Juliette Kristensen, Mike Dibb and Richard Hollis discuss the history of the making of the television series and the book, Ways of Seeing.
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Smythe, Vanessa, Mitchell Cushman i Nick Bottomley. "A Grown-Up’s Guide to Flying". Canadian Theatre Review 197 (1.06.2024): 71–76. http://dx.doi.org/10.3138/ctr.197.014.
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A Grown-Up’s Guide to Flying is one of three standalone escape room-inspired experiences featured in Outside the March’s 2019 production of The Tape Escape. Set in a completely immersive, period-perfect 1990s’ video rental store in the former Annex location of Toronto’s iconic Queen Video, the piece is experienced through a series of narrative escape room-style puzzles hidden among 5,000-plus VHS rentals. The audience follows Kelly as he plans a birthday treasure hunt for his movie-loving younger sister, all while navigating how we experience movies—and each other—when our sighted experience changes. The story was designed to be experienced by a group of up to four people at a time and ran approximately forty-five minutes. It began, as each of the “rental experiences” in The Tape Escape did, with the group being handed a VHS tape with a sticker on it that read “Watch Me.” A video store staff member would then guide the group to one of the store’s “TV-VCR viewing stations” where the group could pop in the tape and watch what, in this case, appeared to be a birthday video message. This article includes production stills and a script excerpt written by creators Vanessa Smythe, Mitchell Cushman, and Nick Bottomley with consultation from Blindness scholar and artist Devon Healey.
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Peters, Helen, Robert Chafe, Andrew Draskoy, Jillian Kieley i CE Anne Walsh. "Training to Survive, III: Primus Theatre: Workshops in Newfoundland". Canadian Theatre Review 88 (wrzesień 1996): 26–30. http://dx.doi.org/10.3138/ctr.88.005.
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In November and December of 1995 primus Theatre performed Alkoremmi, The Night Room and Far Away Home in St John’s. The singular quality of their work attracted a great deal of attention, and audiences were impressed and intrigued by the performances. On 27-29 November primus conducted two series of workshops which were attended by some 15 local theatre practitioners. The workshops ran in two series—mornings for two hours and afternoons for four—and each series could be taken as an independent entity or in combination. The morning workshops, consisting of video presentations, group discussions, and presentations by the primus actors, were geared toward participants interested in the creation and organization of original, alternative, artist-based performance. The afternoon workshops introduced the participants to the physical and vocal exercises which primus uses in their development of characters and performance material. According to Ker Wells of primus , who undertook to read a draft of this article,
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Ekkart, Rudolf E. O. "De Rotterdamse portrettist Jan Daemen Cool (ca. 1589 -1660)". Oud Holland - Quarterly for Dutch Art History 111, nr 4 (1997): 201–20. http://dx.doi.org/10.1163/187501797x00230.
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AbstractUntil now, the Rotterdam portraitist Jan Daemen Cool was known in the literature only as the maker of a group portrait painted in 1653 of the governors and administrator of the Holy Ghost Hospital at Rotterdam, and of a portrait of Piet Hein, which is dated 1629. Closer scrutiny of his activities reveals that the artist, who never signed his work, was Rotterdam's leading portrait painter in the second quarter of the 17th century. Jan Daemen Cool was born in Rotterdam in 1589 or thereabouts. He may have studied with Michiel Jansz. van Mierevelt in Delft, where he married Agniesje Jaspersdr. in 1613 and was admitted to the guild in 1614. He probably returned to Rotterdam in 1614 and spent the rest of his life there. After his first wife's death in 1622 he married again in 1623, this time to Lijsbeth Cornelisdr., the widow of Lowijs Porcellis. Many archive records indicate that Cool was a very prosperous man. After the death of his second wife in 1652. he bought himself a place in the Rotterdam almshouse; he also pledged to paint a group portrait of the governors. He died in 1660. An important starting point in reconstructing the artist's oeuvre is the portrait of the governors of 1653 (cat.no. 28), the authorship of which is substantiated by archive records. However, the portrait of Piet Hein, painted in 1629 (cat.no. I, 1st version), attributed on the basis of the inscription on Willem Hondius' print, is not an authentic Cool but probably an old copy after a portrait which he had painted a few years earlier. A systematic investigation of Rotterdam portraits from the period between 1620 and 1660 has yielded a closely related group of portraits which may be regarded as the work of one man and which include the 1653 governors piece. Combining this information with additional data and further indications has facilitated the reconstruction of Jan Daemen Cool's oeuvre. Pride of place in that oeuvre is occupied by a group of four family portraits painted between 1631 and 1637 and now in the museums at Lille (cat.no. 4), Edinburgh (cat.no. 6), Rotterdam (cat.no. 16) and Brussels (cat.no. 19). Hitherto these portraits have usually been assigned to Jacob Gerritsz. Cuyp. They are all situated in a landscape and represent an important step in the development of this type of family group in Dutch portraiture. A series of portraits of individual sitters painted be-for 1640, including companion pieces, some them identifiable a people who lived in Rotterdam, arc entirely consistent in style and execution with the aforementioned g group portraits. Elements in the portrait of Johan van Yck with his wife and son, painted in 1632 (cat.no. 5), correspond very closely with these works, but there are also discrepancies which suggest cooperation with another painter or later overpaints. A series of individual portraits dating to 1640 - 1654 link the first group of paintings and the late governors piece, the composition of which is quite exceptional in the entire production of such paintings in 17th-century Holland. Here, as in his early family groups, the artist shows himself to be quite an adroit arranger of f gures. Although this painting and two others of 1654 clearly show that he continued to paint after enterning the almshouse, ture is no extant work from the last years of his life. Along the Rotterdam portraits of the rest ched period are a few - likewise unsigned - family groups which are strongly influenced by Cool but are obviously the work of a less proficient hand (figs. 5 and 6). Comparison with a signed portrait of 1649 (fig. 7) enables them to be assigned to the painter Isaack Adamsz. de Colonia (ca. 1611-1663), presumably a pupil of Cool's. Although the work of Jan Daemen Cool bears a resemblance to that of such artists as Michiel van Mierevelt and Jan Anthonisz. van Ravesteyn, his oeuvre has a distinctive character that is most in evidence in his group portraits. There are obvious correspondences with painters such as Jacob Gerritz. Cuyp of Dordrecht, to whom various works by Cool were hitherto attributed, and Willem Willemsz. van Vliet of Delft - artists who likewise developed their own characteristic styles.
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Marín-Clavijo, Jesús, i Ana I. Angulo-Delgado. "Four Reasons: The Garden and Its Double: Case Study". International Journal of Emerging Technologies in Learning (iJET) 15, nr 24 (22.12.2020): 64. http://dx.doi.org/10.3991/ijet.v15i24.19323.
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Analysis of an experimental educational methodology aimed at professional development in the field of visual arts. For this, it is based on the experimental and expository proposal consisting of the use of site-specific sculpture as a creative and methodological strategy for the exploration of the line of own research of students of plastic arts degree and pre-doctoral postgraduates. The selection of the students/artists was made based on the creative research lines they develop, examples of works that start from considering the sculptural as intrinsically related to the environment, and more specifically with the natural environment from a phenomenological and structural point of view in terms of artistic experience; and also, from a point of view of sculptural linguistic research based on the Kraussian foundations of the expanded sculptural field that formally arise from a Piaget´s group.
On the other hand, the exhibition proposal is intended as a framework for deepening production and artistic diffusion oriented to immersion in a professional experience in which all aspects of the creative process can be addressed, from the mere idea to dissemination through from different means of artistic work, so that the training obtained by the artists/students is holistic in terms of the professional field of visual arts.
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Kusnick, Jakob, Eva Mayr, Kasra Seirafi, Samuel Beck, Johannes Liem i Florian Windhager. "Every Thing Can Be a Hero! Narrative Visualization of Person, Object, and Other Biographies". Informatics 11, nr 2 (26.04.2024): 26. http://dx.doi.org/10.3390/informatics11020026.
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Knowledge communication in cultural heritage and digital humanities currently faces two challenges, which this paper addresses: On the one hand, data-driven storytelling in these fields has mainly focused on human protagonists, while other essential entities (such as artworks and artifacts, institutions, or places) have been neglected. On the other hand, storytelling tools rarely support the larger chains of data practices, which are required to generate and shape the data and visualizations needed for such stories. This paper introduces the InTaVia platform, which has been developed to bridge these gaps. It supports the practices of data retrieval, creation, curation, analysis, and communication with coherent visualization support for multiple types of entities. We illustrate the added value of this open platform for storytelling with four case studies, focusing on (a) the life of Albrecht Dürer (person biography), (b) the Saliera salt cellar by Benvenuto Cellini (object biography), (c) the artist community of Lake Tuusula (group biography), and (d) the history of the Hofburg building complex in Vienna (place biography). Numerous suggestions for future research arise from this undertaking.
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Polyakov, E. N., i T. V. Donchuk. "SCOTTISH MODERN IN DESIGN WORKS OF C.R. MACKINTOSH AND M. MACDONALD". Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, nr 5 (30.10.2018): 9–34. http://dx.doi.org/10.31675/1607-1859-2018-20-5-9-34.
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The article is devoted to the creative heritage of Charles Rennie Mackintosh (1868–1928), the outstanding Scottish architect and Margaret MacDonald Macintosh (1865–1933), his wife, an artist-designer. Their life and main character traits which predetermined the choice of their future profession are considered. A brief overview is given to the main stages of their professional development. In the Glasgow School of arts they organized the famous creative group „The Four‟ which created a unique Glasgow style. They participated in international exhibitions of Art Nouvea, engaged in successful architectural and design practice including the development of unique geometrical pictures and Macintosh style furniture, floral and landscape paintings. The paper describes the tragic end of their creative career, departure from Glasgow, posthumous rehabilitation and international recognition. Their style preferences in the world architecture and design are shown as well specific features of their unique style. The articlepresents three of the most famous design projects of the Macintosh spouses made in the tradition of Glasgow style. Here belong interiors of Cranston tea rooms, Hill House in Helensburgh, Scotland and Bassett-Lowke Northampton house. At present, many Macintoshes works are successfully restored, their museums and exhibitions are organized.
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Donnay, J. D. H., i Gabrielle Donnay. "Symmetry and Antisymmetry in Maori Rafter Designs". Empirical Studies of the Arts 3, nr 1 (styczeń 1985): 23–45. http://dx.doi.org/10.2190/gkrh-mxp2-3bn1-f6vp.
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The Maori settled in New Zealand in the eighth or ninth centuries A.D.; the Europeans, many centuries later. Maori meeting houses are very ornate: besides carved wood figures, painted black-red-white designs embellish rafters and structural posts. These designs stand out as highly sophisticated examples of the twenty-four known band groups of 2-dimensional 1-translational symmetry G21 and antisymmetry (G21)′ The two independent symmetry elements, periodically repeated by lattice p or antilattice p′, are any two of the following: mirror m and antimirror m′, both either transverse or longitudinal; glide plane a or antiglide plane a′, longitudinal only; and two-fold rotation axis 2 or anti-axis 2′. Pseudosymmetry is common and obviously intentional: desymmetrization is achieved by added motifs, inserted along the edges of the band, at cell boundaries or inside the main design, which possess their own symmetries, always lower than that of the original design. The resulting symmetry of the whole is the symmetry common to the superposed patterns. Desymmetrization is also obtained by topological deformations of the design or deviations from the color scheme imposed by antisymmetry. Such irregularities led to Herbert Williams' hypothesis that the artist worked in two stages: tracing the outline and working in the color [1]. This conjecture finds support in group theory: the geometrical symmetry group involving no change of color (stage 1) is turned into an antisymmetry group (stage 2), as red goes to black and black goes to red under antisymmetry operations. The international symmetry notation of crystallographers is shown to be well suited to describe the Maori designs.
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Tkachuk, Ilona. "Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»". Bulletin of Lviv National Academy of Arts, nr 39 (2019): 19–37. http://dx.doi.org/10.37131/2524-0943-2019-39-02.
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Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, the approach to a painting is valid according to individual matrices of ideological notions complexes, concepts, principles, mentality, education and preparedness of a creator and a perceiver as a kind of non-verbal communication with a transfer of certain information during this process. Published scientific works refer to the narrow specifics of certain disciplines in the study of perception process of the painting, therefore, they do not constitute a holistic system of knowledge concerning this phenomenon. Among them we note the fundamental researches, which, in particular, set out aesthetic theories: perceptual (M. Beardsley), cognitive (R. Arnheim, D. Berlyne), informational (A. Moles); achievements in neuroaesthetics (V. Ramachandran), psychology of painting perception (V. Molyako, J. Gibson, S. Kosslyn). However, known presented painting perception algorithms do not take into account the entire range of components, parameters and the context of current communication process with art creation. It was revealed that the establishment of variants of components' interaction within the system «artist—painting—recipient», as different ways of cognition and coexistence in the information space, remains at the stage of formation and needs a fundamental development. Objectives. The objectives of the research are to identify concrete models of subjective-objective interaction within the system «artist—painting—recipient» as a result of perception the paintings of the groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna» in the artistic environment. As a material for conducting a practical investigation there were chosen the paintings of above-mentioned groups, because their art, both — as horizontal and vertical, formed a peculiar matrix of Ukrainian visuality. The art code of their works gives the opportunity to see the regularities of historical development of National visual experience. The range of painting form in all its aspects, from transavantgarde — to abstract, makes it possible to consider and analyze the difference between its specific characteristics and accordingly, different models of recipients' perception. Methods. Studying the disclosure of interactive features of interplay between painting and the recipient is related with certain difficulties, mainly of a methodical nature. Exceptionally an interdisciplinary research approach makes the most complete disclosure of the specifics of this process possible, determines its place in culture. During the research the system approach was used as well as such methods: experiment, modeling, structural-functional, statistical and comparative. In order to test the hypothesis, to reproduce the model of information system developed by author in real conditions, arose the need of organization of empirical study. An experiment was chosen as a method that assumes the allocation of significant factors which affect the results of the formation of a particular interaction model within the system «artist—painting—recipient». The investigation with recipients' poll aims to study cause-effect relationships in painting perception process, which assumes the practical modeling of the phenomenon and conditions of its course. Results. It is substantiated that the artistic strategy of two groups — narrative «Paryzka komuna» and non-narrative «Zhyvopysnyi zapovidnyk», has created a unique matrix of Ukrainian visuality, and the art code of paintings enables the revealing of patterns of historical development of National visual experience. Review and analysis of the specific features complex of modernist and postmodernist paintings allowed to identify the origins of four different perception models formation by recipients. Within the framework of the study there were critically comprehended known published painting perception algorithms. As a result of investigation, the informational painting perception system was formed and at the same time there was carried out its correlation with fundamental researches of Western scientists. In particular, they relate to perceptual, cognitive and informational aesthetic theories; achievements in neuroaesthetics and psychology of painting perception. Present model is an attempt to take into account the whole complex of components, parameters and context of communication process with the painting, as well as interpretive art models of corresponding period. Conclusions. Summarizing the results of the experiment, we can conclude that recipients from the range of artistic community clearly manifested the change of perception model — from nonclassical to post-nonclassical. It depended on presented painting — whether narrative artwork or «painting-opened-structure-object» was shown. The first one personifies the painters' works of «Paryzka komuna», and the second — artists' painting practice of «Zhyvopysnyi zapovidnyk». Also there were stated the individual manifestations of primordial and classical interaction painting models with their complexes of inherent specific features. Obtained results can form the support material for the evaluation of artworks — both within and outside the art institutions. Also the main theoretical positions can be relevant for artists in process of their work with the construction of further strategy, as well as for recipients interacting with painting
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Piton, Jean-Pierre. "Artists’ Files: a digitisation experiment at the MNAM-CCI". Art Libraries Journal 25, nr 1 (2000): 17–18. http://dx.doi.org/10.1017/s0307472200011391.
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Research in preparation for an exhibition provided the opportunity for the Documentation Centre of the Musée Nationale d’Art Moderne-Centre de Création Industrielle to carry out an experiment to digitise one of its 30,000 artists’ files, on the group Supports-Surfaces. The navigation principle adopted allows easy access to the file’s contents, which have been divided into four documentation types. A database giving references to the digitised documents facilitates user research.
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Irmer, Thomas. "Theatre as Intervention: Christoph Schlingensief's Hamlet in Zürich and Berlin, 2001". New Theatre Quarterly 28, nr 4 (listopad 2012): 343–51. http://dx.doi.org/10.1017/s0266464x12000644.
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Christoph Schlingensief (1960–2010) was a filmmaker, theatre director, and performance artist. In his Hamlet at the Schauspielhaus in Zürich in 2001 – his only staging of a classic – Schlingensief deployed the strategies of intervention typical of his whole work. In this article Thomas Irmer focuses on the actors' troupe in the play, performed by former neo-Nazis. Schlingensief was asking whether an audience would accept the reintegration of people who were determined to leave this extremist group with the support of the German government. At the same time, Schlingensief referred to a historical performance of Hamlet by Gustaf Gründgens, whose career in Nazi and post-war Germany is played in counterpoint against the neo-Nazi outsiders potentially to be reintegrated. Schlingensief's ambivalence here challenged ready-made opinions about overlap between political and aesthetic experience. Thomas Irmer is a scholar, theatre critic, and co-director of four documentary films on theatre, including Die Bühnenrepublik: Theatre in the GDR (2003) and Heiner Müller: a Biographical Portrait (2009). He teaches American theatre at the John F. Kennedy Institute for North American Studies at the Freie Universität in Berlin. He is a regular contributor to Theater Heute, editor of the book Castorf's Volksbühne (2003), and author of the forthcoming Life and Times of Andrzej T. Wirth.
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Almazán Tomás, V. David, i David Lacasta Sevillano. "Literatura japonesa y porcelana Kutani: Escenas del Genji Monogatari en el Museo de Artes y Costumbres Populares de Sevilla". Artigrama, nr 37 (30.06.2023): 379–98. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2022379223.
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Resumen
Los numerosos objetos de exportación japoneses llegados a Europa desde la apertura de la era Meiji (1868-1912) propiciaron el fenómeno del Japonismo y el coleccionismo de obras artísticas que hoy forman parte de numerosos museos. Este artículo analiza un conjunto excepcional de veintiuna piezas de porcelana de Kutani (Japón) conservadas en el Museo de Artes y Costumbres Populares de Sevilla procedentes de la colección de Joaquín Soria, cuya decoración son distintos episodios del Genji Monogatari, la gran obra clásica de la literatura japonesa, que sigue los diseños del artista de la estampa ukiyo-e Ogata Gekkō (1859-1920). En concreto, las escenas representadas en las cerámicas proceden de la serie Los cincuenta y cuatro capítulos del Genji realizada entre los años 1892 y 1895 en Tokio. Este conjunto de obras muestra que las estampas ukiyo-e de la era Meiji formaron parte de los repertorios decorativos de las porcelanas japonesas, proyectando una imagen de Japón basada en su rica tradición literaria y cultural.
Abstract
Numerous Japanese export objects arrived in Europe from the beginning of the Meiji era (1868-1912), giving rise to the phenomenon of Japonisme and the collections of works of art that today form part of several museums. This article analyses an exceptional set of twenty-one pieces of Kutani porcelain (Japan) from the Joaquín Soria collection in the Museo de Artes y Costumbres Populares in Seville. These pieces are decorated with different episodes from the Genji Monogatari, the great classic work of Japanese literature, which follows the designs of the ukiyo-e print artist Ogata Gekkō (1859-1920). The scenes depicted on the ceramics derive from the serie Fifty-four Chapters of the Genji, produced between 1892 and 1895 in Tokyo. This group of Kutani pieces shows that Meiji-era ukiyo-e prints formed part of the decorative repertoire of Japanese porcelain, projecting an image of Japan based on its rich literary and cultural tradition.
Keywords
Japan, Kutani, Porcelain, Genji, Ogata Gekkō.
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Molewyk Doornbos, Mary, Gail Landheer Zandee, Anna Greidanus, Barbara Timmermans, Katherine Miller, Morgan Quist, Emily Heitsch, Erica Hammond, Christa Houskamp i Anna VanWolde. "Women Supporting Women: The Use of Art With Anxious/Depressed, Urban, Impoverished, Ethnically Diverse Women". Journal of the American Psychiatric Nurses Association 28, nr 4 (lipiec 2022): 271–82. http://dx.doi.org/10.1177/10783903221104097.
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BACKGROUND: Depression and anxiety disproportionately affect urban, ethnically diverse, impoverished women—particularly when access to culturally sensitive care is limited. Using community-based participatory research in the context of long-term, academic/community partnerships, women supporting women, a supportive/educative group intervention piloting an art project, was offered. AIMS: The purpose of this study was to examine the impact of an artist book-making project on diverse women struggling with anxiety and depression. METHODS: A descriptive qualitative approach was used within this mixed-method study. Thirty-one participants, aged 18 to 86 years, were asked: (1) How does this book tell your story? (2) How did creating this book impact you personally? (3) How would you describe the experience of creating your book alongside women from our group? (4) How did this project help you with anxiety and depression? (5) What did you do with the book that you made? The framework method for analysis of qualitative data in multidisciplinary health research was used. RESULTS: Four themes, with corresponding subthemes, were identified: (1) personal story entailed expression of past, present, and future journey and mediums to depict the story; (2) method of coping included relaxation, diversion, and self-care; (3) creative impact encompassed affirmation of identity, empowerment, healing, pride in work, and a vehicle to connect; and (4) creating in community incorporated inspiration, sharing, and solidarity. CONCLUSIONS: These results suggest that an art project provides a culturally sensitive, clinically relevant, and cost-effective self-care intervention for vulnerable women struggling with anxiety and depression.
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Law, Moira A., Pamela Pastirik i Isdore Chola Shamputa. "Expressive Arts for Grieving Youth: A Pilot Project". OBM Integrative and Complementary Medicine 08, nr 01 (28.01.2023): 1–17. http://dx.doi.org/10.21926/obm.icm.2301009.
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The experience of loss due to death, illness, and social mitigation was inevitable during the COVID-19 pandemic. Mental health services are chronically difficult to access in Canada, and this barrier is further exacerbated when trying to access certified art therapists to deliver expressive arts therapy. This pilot project attempted to provide an alternative to this service through an interprofessional alliance with a professional artist and certified counselors. A small group (n = 6) of vulnerable youth who had suffered the recent loss of a loved one and were at risk for mental health issues participated in an expressive arts therapy program, over a four-week period in the late Spring of 2021. Expressive arts activities such as clay mask making to express the emotions of grief, provided opportunities for the youth to learn healthy ways of coping with grief and loss. A mixed-methods approach involving quantitative data was collected with a battery of well-validated instruments to assess changes in depressive symptomatology, social and emotional loneliness and satisfaction with life. These measures were complemented with qualitative data collected during a focus group at the end of the program. Measures conducted before and after the program found decreases in loneliness, coupled with youth expressing the shared experience was comforting, reduced feelings of isolation, and increased a sense of belonging. Preliminary evidence supports that expressive arts programs for vulnerable youth may help to stabilize mood, decrease feelings of isolation/loneliness, and may generate a supportive community of peers, providing a safe space for the expression of grief through creative outlets.
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Hoyo-Meléndez, Julio M. del, Marco Gargano, Małgorzata Chmielewska, Anna Grochowska-Angelus, Katarzyna Novljaković, Piotr Frączek, Marta Matosz, Michał Obarzanowski i Janusz Czop. "The Lady with an Ermine – Portrait of Cecilia Gallerani: Research into Leonardo da Vinci’s painting materials and techniques". Léonard de Vinci, l’expérience de l’art Hors-série (2024): 86–99. http://dx.doi.org/10.4000/11v45.
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The Lady with an Ermine is one of the greatest masterpieces by the Italian artist Leonardo da Vinci from around 1489-1490, depicting Cecilia Gallerani, most likely at the time when she was the mistress of Ludovico Sforza, Duke of Milan. This painting belongs to a group of four portraits of women painted by Leonardo along with the Mona Lisa, Ginevra de' Benci and La Belle Ferronnière. It was acquired by Prince Adam Jerzy Czartoryski around 1800 in Italy. In 2012, a group of conservators and scientists from the National Museum in Krakow in collaboration with experts from various institutions in Poland and abroad conducted the sixth research campaign on the painting focusing on its technological aspects. Various techniques were applied to study the materials and methods employed by Leonardo, including technical photography, X-radiography, micro X-ray fluorescence spectrometry. Physico-chemical analyses allowed to identify characteristic pigments employed by Leonardo da Vinci such as vermilion, iron-based earth pigments, lead-tin yellow, lead white, and ultramarine. The background was overpainted in black, most likely before its sale, in the 18th century. The original background most likely consists of an underlayer layer showing slight grey tone modulations obtained using iron oxide or hydroxide mineral earths. The absence of copper-based pigments in the background does not validate the hypothesis of an existing painting hidden under the black repainted zone. A dominance of lead white in brighter parts of the painting was noted, while tonal transitions were achieved using thin layers of an iron-based glaze in the sfumato technique.
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Ekkart, Rudolf E. O. "Jan Cornelisz. van 't Woudt als portretschilder". Oud Holland - Quarterly for Dutch Art History 103, nr 4 (1989): 223–42. http://dx.doi.org/10.1163/187501789x00176.
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AbstractIn 1986 B. W. F. van Riemsdijk published an article on the painter/draughtsman Jan Cornelisz. van't Woudt, better known as Woudanus. As well as providing biographical particulars, the article dwelt on some of the artist's paintings and various copper engravings after his designs. Archive research enables us to supplement these biographical details. Jan Cornelisz. is thought to have been born around 1565-1570 in Het Woudt, a village near Delft. He was probably a pupil of the Delft artist Jacob Willemsz. Delff the Elder, whose influence is most apparent in his work. Shortly after his marriage in 1594, Woudanus moved to Leiden, where his bride came from and where Isaac Claesz. van Swanenburg 1537-1614) was a leading painter of the day. For some tweny years Woudanus worked as a painter and print designer in Leiden, where he died in 1615. Of the engravings after his designs, four depicting university institutions - executed by Willem van Swanenburg - are best known. One signed painting by Woudanus is extant: The Surrender of Weinsberg of 1603, in the Lakenhal Museum in Leiden (fig. 1). This large painting corresponds remarkably with the stage directions for a play on the same subject written by Jacob Duym for the local dramatic society, or rederijkerskamer, published three years previously. Woudanus' painting was undoubtedly influenced by the directions in Duym's play. Among the figures in the foreground (figs. 2 and 3) are several portraits, including likenesses of the painter, Dirck Volckertsz. Coornhert and, presumably, Jacob Duym. The rendering of The Surrender of Weinsberg displays a number of special characteristics, such as the use of light and dark patches and the depiction of the hands. There are strong grounds for attributing the blazon of the Leiden Chamber of Rhetoric, D'Oraigne Lelie, of 1606 (fig.4), to Woudanus. Archivalia (see the Appendix) and prints (figs. 5 and 6) show that the artist also painted portraits. A systematic investigation into Leiden portraiture of the late 16th and early 17th century yielded portraits with the same characteristics as The Surrcnder of Weinsberg and which can duly be attributed to Woudanus. The portraits in question are of the Leiden merchant and regent, Huyg van Nes, and his wife, painted in 1606 (figs. 7 and 8), and of another citizen of Leiden, a dyer and former mayor, Claes Willemsz. van Warmondt, and his wife, painted in 1607 (figs. 9 and 10). In view of the discrepancy in size, the latter two portraits are not companion pieces; each is probably half of another pair painted that year in a different format but otherwise identical. The four portraits bear a strong stylistic resemblance to the work of Woudanus' putative teacher Delff. A fifth portrait of 1596, very likely a female member of the Stalpert van Wiele family (fig. 11), may be added to the group with certainty. Differently set up but technically entirely in keeping with Woudanus' work is the profile portrait of the famous scholar Josephus Justus Scaliger in the Leiden Senate Room, dating from 1608 or 1609 (fig. 12). Although not a particularly important artist, Jan Cornelisz. van 't Woudt played a significant role in Leiden between 1596 and 1615 as a history and portrait painter and as a designer of prints depicting a variety of subjects.
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Golan, Romy. "Vitalità del negativo/Negativo della vitalità". October 150 (październik 2014): 113–32. http://dx.doi.org/10.1162/octo_a_00203.
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Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of Pop); members of the ′60s Milanese group Azimut; kinetic environments by Padua's Gruppo N and Milan's Gruppo T; artists from Arte Povera; and other, more idiosyncratic installation artists.
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Clarke, George Elliott. "Beatrice Chancy: A Libretto in Four Acts". Canadian Theatre Review 96 (wrzesień 1998): 62–77. http://dx.doi.org/10.3138/ctr.96.010.
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Copyright George Elliott Clarke. This libretto is fully protected under the copyright laws of Canada and all other countries of the Copyright Union. Changes to the script are expressly forbidden without the written consent of the author. Rights to produce, film, or record in any medium, in any language, by any group, are retained by the author. The moral right of the author has been asserted. For copyright information contact George Elliott Clarke, Department of English, Duke University, Box 90015, Durham, NC 27708-0015 USA. Music copyright James Rolfe.
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Levickaitė, Rasa. "FOUR APPROACHES TO THE CREATIVE ECONOMY: GENERAL OVERVIEW". Business, Management and Education 9, nr 1 (22.06.2011): 81–92. http://dx.doi.org/10.3846/bme.2011.06.
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The article presents the concept of the creative economy as a new economic phenomenon in the globalized environment. Four approaches on the new occurrence are presented. According to John Howkins theory, the fifteen creative industries (listed by the author) are the core of the creative economy. Both creativity and economy aren’t new, but brand new are its interaction and scope. A wide definition of creativity has formed Richard Florida’s theory of the developing creative class, which is a group of professionals, researchers and artists whose presence creates socioeconomic and cultural dynamism in cities especially. Richard Caves characterizes creative industries on the basis of seven economic properties and presents an idea that creative industries as such aren’t unique but the sectors of creative industries driven by creativity generate new approaches to business processes, the demand-supply chain and covers both economic and social indicators of the country development. Charles Landry has proposed a creative city concept, which states that cities are dependent on one resource only – its people. Creativity changes place, natural resources, market access, and becomes the key to dynamism of city development. A creative city defines a metropolis with variety of cultural activities glued to urban economical and social functioning. Key activities highly influencing rapid growth of the creative industries worldwide are related to both technology and economy. Digital revolutions and economic environments where revolutions took place, changes in technology and communications altogether have formed new conditions for development of creative economy as a new economic phenomenon.
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Landy, Leigh. "Re-composing Sounds … and Other Things". Organised Sound 24, nr 02 (sierpień 2019): 130–38. http://dx.doi.org/10.1017/s1355771819000177.
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In this article, based on four decades of experience of using samples in diverse ways in experimental, particularly electroacoustic compositions, the author investigates the world of what he calls ‘sample-based sound-based music’ and suggests that there is a relative lack of scholarship in this important area. The article’s contextual sections focus on briefly delineating this world of sonic creativity and placing it within today’s sampling culture as well as dealing with two political aspects of sampling, a musician’s attitude towards the reuse of sonic materials and the legality of sampled sounds, including musical passages, in the discussion of which current legislation related to sampling is challenged. Following this, a number of categories are presented in terms of the types of sampling material that is being used as well as how sample-based works are presented. The subsequent section is perhaps the most poignant in the article, namely the opening up of this form of innovative composition from a more traditional ‘artist creates work’ mode of operation to a more collaborative one which is essentially already part of most other forms of sampling culture. The objective here is to suggest that such collaborative approaches will enable sample-based sound-based music to become part of the lives of a much broader group than those currently involved with it.
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Al-Samadani, Khalid H. "Color Stability of Restorative Materials in Response to Arabic Coffee, Turkish Coffee and Nescafe". Journal of Contemporary Dental Practice 14, nr 4 (2013): 681–90. http://dx.doi.org/10.5005/jp-journals-10024-1385.
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ABSTRACT Objective To evaluate the effect of Arabic coffee, Turkish coffee and Nescafe on the color stability of four different composite resins after a period of aging time 1, 7 and 30 days. Materials and methods Twenty specimens from each type of tested composite resin material were prepared. Five specimens from each tested material (Z350 XT, Artist, GC and Z250) was evaluated after storage in Arabic coffee, Turkish coffee, Nescafe and distil water (control) at 37°C in a dark container for 1, 7 and 30 days. Color measurement was done using colorimeter based on the CIE L* a* b* color scale. Color differences ΔE*ab, Δb* and Δa* among specimens immersed in distil water and staining coffee beverages were evaluated overtime. Mean values were statistically analyzed with one-way analysis of variance (ANOVA), followed by Tukey test with p < 0.05 as significance level. Results All tested composite resins showed increase color change after a period of 1, 7 and 30 days. The color change ΔE*ab, Δb* and Δa* exhibited by Arabic coffee, in Turkish coffee and Nescafe except Δa*. The highest total color difference ΔE*ab after 30 days was in group A Arabic coffee (ΔE > 1.5 perceivable) and not perceivable in group B Turkish coffee and group C Nescafe. For Δb* all materials discolored toward yellowness after 30 days except Arabic coffee group which shifted from yellowness toward blueness (Δb*> 1.5 perceivable). Conclusion The effect of staining beverages on the resin composite materials increases with time of aging toward yellowness and not perceivable in all groups except with Arabic coffee which had highest effect after 30 days and the discoloration shifted from yellowness to blueness perceivable. How to cite this article Al-Samadani KH. Color Stability of Restorative Materials in Response to Arabic Coffee, Turkish Coffee and Nescafe. J Contemp Dent Pract 2013;14(4):681-690.
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Lee, Jeongnam. "A Study on the Bibliography of Records of Gisaeng and Changgi and the Implantation of a Prostitution System by Japanese Resident- General: Focusing on the Prostitute-Related Documents Composed from September to October 1908 and in March 1909". Barun Academy of History 13 (31.12.2022): 179–229. http://dx.doi.org/10.55793/jkhc.2022.13.179.
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This study analyzed and examined prostitute-related documents (from September to October 1908 and in March 1909) on the enactment preparation, issuance, enforcement, detailed regulation, report format, etc, of the second document type on 2) the Prostitute Regulation Law (Prostitution System) among four types of documents composing the records of Gisaeng and Changgi. Then, this study conducted a thorough analysis of the “prostitute-related documents” while maintaining academic objectivity and neutrality.
First, the Prostitution System targeted the prostitutes involved in a prostitution business on the Korean Peninsula during the end of the Korean Empire Period. It was a Japanese-style prostitution system which was forcibly implemented by the Japanese colonial ruler. In fact, the Japanese Resident-General arranged all the related policies, enacted and announced related laws, laid down phased and detailed guidelines, and made the Japanese police officers manage and supervise the prostitutes.
Second, the Korean Peninsula did not originally have a nationally authorized prostitution system. In September 25, 1908, right before the colonization of the Joseon Dynasty, the Japanese Resident-General implemented the firstever prostitution system for Korean prostitutes. In other words, the Records of Gisaeng and Prostitute are bitter records on process of how the Korean Peninsula, which strictly prohibited any prostitution involving money, was degraded into an immoral society in which people traded sex without any legal punishment.
Third, the National Unified Prostitution Law was enacted in Japan on October 2nd, 1900. The Prostitution System, forcibly implemented on September 25, 1908 by the Japanese Resident-General, was the lighter edition of the National Unified Prostitution Law restructured based on the circumstances of the colonized countries, such as Taiwan.
Finally, a correct understanding and new perception toward the Korean modern history of Gisaeng and prostitutes need to be formed by clearly distinguishing and understanding the concepts of Gisaeng Group as the artist group that inherited the tradition of female musicians and the prostitute group as a group who lived off of prostitution during The Korean Empire’s turning point of modernization.
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Molony, Martin G. "Nelson Paine, Experimental Theatre, and Puppetry in Ireland, 1942–1952". Estudios Irlandeses, nr 18 (17.03.2023): 67–78. http://dx.doi.org/10.24162/ei2023-11392.
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In 1942, a young Dublin architect, Nelson Paine, formed the Dublin Marionette Group on foot of an international re-appraisal of the potential of the puppet theatre as a form of expression. This Group became the nucleus of experimental theatre in the Irish capital and influenced several well-known Irish creative artists over the decade of its existence and beyond. It attracted the involvement of actors, artists and dramatists of the period and performed in professional settings, including eight seasons at the Peacock Theatre and for each of the first four years of the Wexford Opera Festival. This article examines the context of the Group’s formation, its long-forgotten experimental approach, and its considerable contribution to the development of the arts in Ireland.
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Mamona, Anhelina. "Four Songs op. 41 to Rabindranath Tagore’s poems in musicological reflection: aspects of exploring Karol Szymanowski’s Oriental visions". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 69, nr 69 (28.12.2023): 40–55. http://dx.doi.org/10.34064/khnum1-69.02.
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Statement of the problem. Karol Szymanowski’s vocal works have repeatedly drawn the attention of researchers particularly from the perspective of embodying an oriental colour. In the majority of such studies one of the composer’s cycles, which should clearly be included in the group of his oriental works, is interestingly omitted. Four Songs op. 41 to the poems by Rabindranath Tagore seem to fall out of the context of the composer’s work, since they lack the traditional complex of musical idioms associated with Eastern exoticism, which was typical for K. Szymanovsky in the 1910s and early 1920s, as well as for the Western European tradition of that time in general. However, this cycle, as argued in this article, is an example of Orientalism, although unusual. Objectives, methods, and novelty of the research. The purpose of the study is to reflect on this cycle from the perspective of the composer’s creative search and testing of alternative to European musical Orientalism artistic solutions. To achieve this objective, the following research methods were chosen: source-critical, comparative-historiographical, genre and stylistic, and semantic. In the musicological works dedicated to Szymanowski’s vocal music and oriental aspect of it the Four Songs to Tagore’s texts are often neglected or characterised as those that lack of significant artistic value. The cycle is usually not considered as a part of composer’s oriental “visions”, which determines the original contribution of the proposed article to researching K. Szymanovski’s work. Results and conclusion. Answering the question whether Szymanowski’s Four songs op. 41 are an extra cycle or a technical exercise, we note that both answers may be correct, but with the negative connotation being excluded. In a group of oriental works, this cycle can really seem odd due to the lack of exoticism in its sound. In a certain sense, the writing of this cycle can be understood as a technical exercise, being perceived as K. Szymanowskis attempt to master the potential of Orientalism beyond exoticism. The composer probably did not set himself the goal of completely moving away from the very idea of Orientalism in the music of the cycle, but he clearly avoided the use of stereotyped signifiers of musical exotics. Apparently, Tagore’s poetry prompted him to try to embody its images on a more personal expressive level. The result of the “technical exercise” was the realisation of the possibility of creating an artistic vision of oriental imagery beyond the clichés of musical exoticism practiced in European art. However, as it can be seen from K. Szymanowski’s subsequent works, this approach, caused by the peculiarities of the poetic source, did not become the leading one in the composer’s work. Four songs op. 41 to the texts by R. Tagore arose at the intersection of two creative interests of the composer: the world of the East and modern musical language. And in this case, the creative decision of the artist was to level in the cycle of signs of musical Orientalism; instead, K. Szymanovsky focuses attention on the deeper, psychological side of R. Tagore’s poems.
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Wolfram, Barbara, Christina Wintersteiger, Elena Meilicke, Nina Kusturica i Claudia Walkensteiner-Preschl. "Confronting Realities – First Steps Working on Cinematic Autosociobiographies". International Journal of Film and Media Arts 5, nr 2 (13.11.2020): 100–123. http://dx.doi.org/10.24140/ijfma.v5.n2.06.
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This paper provides a case study of the artistic research project Confronting Realities – First Steps. Working on Cinematic Autosociobiographies conducted at the Film Academy Vienna/ mdw – University of Music and Performing Arts Vienna, Austria as well as a reflection on the relationship between its research approaches, theory and criticism. Drawing from literary autosociobiographies of Ernaux (Les Années, 2008) and Éribon (Retour à Reims, 2009), the aim was to explore, describe and produce cinematic autosociobiographies - autobiographies in regard to and contextualized within the frame of social class and larger historical developments. Over the course of 10 months a multi-level project was designed and conducted to explore the format of cinematic autosociobiographies within the course “Research Project II” of MA and BA Students for Directing, Script Writing as well as Film and Media Studies. A group of 8 external performers from various backgrounds joined the project. The project was designed on four levels: Level (1) of Autosociobiographical Exploration that created three exploration groups with varying composition – 14 artist researchers/ film and acting students from Europe, refugee artists from Iran and Syria - to explore, make accessible and contextualize one’s sociobiography. Level (2) of Cinematic Forms and Techniques intended to develop narratives, cinematic techniques and formats of cinematic autosociobiographies - 2 short films were produced in that context that show the diversity of cinematic form and content on the levels of visuals, framing, audio, editing as well as in the narrative and the narrative development. Level (3) of Interdisciplinary and Theoretical Contextualization intended to build a strong interconnection between artistic, theoretical and interdisciplinary research about social class, cinematic forms and collaborative strategies of film production. Level (4) of Reflection and Evaluation intended to create a reflective framework, especially focusing on the collaborative aspect of filmmaking, ethical aspects of working with autosociobiographies and of researching/ creating in an intimate way in an academic environment. Cinematic autosociobiographies have shown to provide unique artistic research approaches and tools to convey collective movements, to find relations between different realities as well as creating ways of making them accessible. Further research is still needed and planned.
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Robins, Ben, Kerstin Dautenhahn i Janek Dubowski. "Does appearance matter in the interaction of children with autism with a humanoid robot?" Interaction Studies 7, nr 3 (13.11.2006): 479–512. http://dx.doi.org/10.1075/is.7.3.16rob.
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This article studies the impact of a robot’s appearance on interactions involving four children with autism. This work is part of the Aurora project with the overall aim to support interaction skills in children with autism, using robots as ‘interactive toys’ that can encourage and mediate interactions. We follow an approach commonly adopted in assistive robotics and work with a small group of children with autism. This article investigates which robot appearances are suitable to encourage interactions between a robot and children with autism. The children’s levels of interaction with and response to different appearances of two types of robots are compared: a small humanoid doll, and a life-sized ‘Theatrical Robot’ (a mime artist behaving like a robot). The small humanoid robot appeared either as a human-like ‘pretty doll’ or as a ‘robot’ with plain features. The Theatrical Robot was presented either as an ordinary human, or with plain clothing and a featureless, masked face. The results of these trials clearly indicate the children’s preference in their initial response for interaction with a plain, featureless robot over the interaction with a human-like robot. In the case of the life-size Theatrical Robot, the response of children towards the plain/robotic robot was notably more social and pro-active. Implications of these results for our work on using robots as assistive technology for children with autism and their possible use in autism research are discussed.
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Sandberg, Berit. "Art Hacking for Business Innovation: An Exploratory Case Study on Applied Artistic Strategies". Journal of Open Innovation: Technology, Market, and Complexity 5, nr 1 (14.03.2019): 20. http://dx.doi.org/10.3390/joitmc5010020.
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Despite a growing interest in the effects of arts-based interventions on organizational change, concepts aiming at business innovation and product development other than residencies are rare. Furthermore, little is known about the role and impact of artists involved in idea-generating formats. How does the personal presence of artists in a heterogenous working group influence the procedure? To what extent do artists unfold their creative qualities while dealing with such a non-artistic challenge? The paper introduces a method named Art Hacking that applies professional labour attitudes typical for artists and artistic modes of thinking to business problems and enhances the approach by having artists attend the whole intervention. One of these events was taken as a case for exploring the role of four artists in the collective idea-generation process. The results of participatory observation along critical incident technique substantiate the thesis that in interdisciplinary “playgrounds” artists implicitly become process leaders. They are catalysts for awareness, sensemaking and change of perspective.
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Silverman, Michael J. "Quantitative comparison of group-based music therapy experiences in an acute care adult mental health setting: A four-group cluster-randomized study". Nordic Journal of Music Therapy 28, nr 1 (28.11.2018): 41–59. http://dx.doi.org/10.1080/08098131.2018.1542614.
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Granzotto, Clara, i Ken Sutherland. "Black, Red and White: Characterization of Painting Materials on a Group of Bwa Masks from Burkina Faso". Applied Sciences 13, nr 22 (11.11.2023): 12240. http://dx.doi.org/10.3390/app132212240.
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The distinctive and visually striking wooden masks associated with the Bwa culture in Burkina Faso, West Africa, are carved from a soft wood into different shapes and display various geometrical patterns and symbols according to their purpose. One of their characteristic features is the use of the colors black, red, and white, which evoke the three major rivers crossing the country: the Black, Red, and White Voltas. According to published accounts of scholars who have worked directly with the artists, the materials used to obtain these colors include reptile excrement for the white, iron-rich stones powdered and mixed with egg or plant gums for the red, and boiled Acacia seed pods for the black, as well as modern materials such as enamel paint in some cases. A group of four Bwa masks in the Arts of Africa collection of the Art Institute of Chicago was investigated using a complement of analytical techniques including Fourier transform infrared spectroscopy, scanning electron microscopy with energy dispersive spectroscopy, pyrolysis gas chromatography–mass spectrometry, and mass spectrometry-based proteomics to characterize their painting materials. The results obtained corroborate the published accounts, while also providing new insights into the nature of the coloring materials and the selection and substitution of pigments and binders. These findings highlight the complementary value of scientific research, in combination with fieldwork and artists’ accounts, to generate a fuller understanding and appreciation of this traditional artistic practice.
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Decker, Adam, Veronique Richard, John Cairney, Philip Jefferies, Natalie Houser, Patrice Aubertin i Dean Kriellaars. "Assessment of Professional Circus Students’ Psychological Characteristics at Four Strategic Timepoints over the Scholastic Year: A Longitudinal Study Using the Stress Process Model". Medical Problems of Performing Artists 37, nr 4 (1.12.2022): 249–58. http://dx.doi.org/10.21091/mppa.2022.4036.
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OBJECTIVE: The circus professionalization process entails extensive training to mitigate the high-risk demands which increase stress in artists. In high-risk professions, everyday hassles (challenges) contribute greatly to overall stress. To capture the impact of daily challenges on student-artists, the aim of the current study was to describe the magnitude and pattern of daily challenges as well as their relationships with perceived coping, anxiety, fatigue, and psychological distress. METHODS: Ninety-two students at École Nationale de Cirque (ENC), in Montreal, Canada, completed the Circus Daily Challenges Questionnaire (CDCQ) and scales assessing perceived coping, state anxiety, and fatigue at four time points over 1 school year. The Kessler 6 Non-Specific Psychological Distress Scale (K6) was implemented at one time point. RESULTS: Findings revealed significant fluctuations in challenge level and management of challenges throughout the school year, with schedule, technical development, artistic expression, physical preparation, and sleep reported as high during the two examination periods. The lowest challenge-level scores were achieved following the extended breaks in the annual calendar. Daily challenge positively correlated to state anxiety and fatigue, and negatively correlated with perceived coping. The student-artists reported higher prevalence of moderate psychological distress to general populations. CONCLUSION: Befitting the Stress Process Model, a strong interplay between variables was observed, and the life challenges assessment provides a basis for interventions based upon commonalities across the group, as well as individually tailored.
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Barr, William. "The Arctic voyages of Louis-Philippe-Robert, Duc d'Orléans". Polar Record 46, nr 1 (8.09.2009): 21–43. http://dx.doi.org/10.1017/s0032247409008377.
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ABSTRACTLouis-Philippe-Robert, Duc d'Orléans (1869–1926), the Orléans claimant to the French throne, mounted four private expeditions to the Arctic, in 1904, 1905, 1907, and 1909. During the first of these, on board his private yacht, Maroussia, and accompanied by his wife, Marie Dorothée, he visited Svalbard where he hunted reindeer while his wife, an accomplished amateur artist, executed a number of delightful paintings. In 1905 he chartered the ice strengthened Belgica and employed Adrien de Gerlache de Gomery as her captain; he also recruited an impressive group of scientists. He again visited Svalbard then pushed west through the pack ice to east Greenland. He was able to penetrate further north along that coast than his predecessors, the Germans under Koldewey in Germania, had in 1869–1870, and discovered and named Île-de-France and the Belgica Bank. He shot large numbers of polar bears. In 1907, again on board Belgica, and again with de Gerlache in command of the ship, and again with a contingent of scientists on board, Orléans headed out into the Kara Sea from Matochkin Shar. Belgica soon became beset in the pack ice and drifted slowly south with the ice to emerge through Karskie Vorota after a very frustrating month. Thereafter an attempt to reach Zemlya Frantsa-Iosifa was foiled by heavy ice. Finally, in 1909, again on board Belgica under de Gerlache's command, Orléans visited Jan Mayen, east Greenland, Svalbard and Zemlya Frantsa-Iosifa, with hunting as his primary aim. From all four expeditions Orléans brought back substantial numbers of skins of birds and mammals that were mounted and displayed in his private museums. On his death they were bequeathed to the French people and exhibited in the specially built Musée du Duc d'Orléans in Paris and later in the Musée National d'Histoire Naturelle. The scientific data and specimens collected by the scientists on the 1905 and 1907 expeditions resulted in a substantial number of scientific reports in their various fields.
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Lubiak, Jarosław. "CANONIZATION OF THE AVANT-GARDE: ON THE PUBLICATION AVANT-GARDE MUSEUM". Muzealnictwo 62 (23.06.2021): 128–31. http://dx.doi.org/10.5604/01.3001.0014.9723.
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The monumental publication Avant-garde Museum (ed. Agnieszka Pindera, Jarosław Suchan, Muzeum Sztuki w Łodzi, Łódź 2020) juxtaposes and analyses four museum projects: Museums of Artistic Culture in Soviet Russia, the activity of the Société Anonyme in the USA, Poland’s ‘a.r.’ Group, and the Kabinett der Abstrakten, the selection criterion being that each was conceived by Avantgarde artists; additionally, in the projects’ assumptions the artists were to run the implementation of the projects. The publication has been divided into three sections: research papers, source texts, and the catalogue of documents and works. The study of the Avant-garde museum projects spans over four areas: the concept, collection, organization, and display. However, these issues are not isolated in the research, but more purposefully integrated. The main goal of the study is to show how the Avant-garde institutionalized itself. This very thesis is reflected upon in the present paper. Just like the consequences of this publication: e.g., entering the Avant-garde into the canon of art history and sanctifying its output as an unquestionable value.
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Kuuse, Anna-Karin. "”Konstnären”, ”fostraren”, ”tjänstemannen” och ”rebellen”: Musiklärares dramaturgiska framträdanden kring musikundervisning, social rättvisa och demokrati". Nordic Research in Music Education 1, nr 1 (17.11.2020): 29–57. http://dx.doi.org/10.23865/nrme.v1.2637.
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This article intends to explore how some Swedish music teachers present their teaching in relation to democracy and social justice. Present-day social issues such as socio-economic vulnerability and ever more segregated schools have accentuated the need for critical reflection on social and democratic aspects in all teaching. This also has consequences for music educational practices. During two focus group interviews with Swedish music teachers from both the community school of music and arts and elementary school, the organisation of the teaching practice, as well as the teachers’ respective opportunities and challenges in relation to their specific contextual social and democratic issues are discussed. With the aid of dramaturgical theory and interview analysis it is shown how the teachers’ joint discussions make space for four social roles in relation to those themes: the artist, the fosterer, the civil servant and the rebel. In spite of some similarities in the staging opportunities of the two different music educational contexts, some differences appear in terms of the dramaturgical significance of the respective roles, as well as the force of the connections between them. In both contexts, still a common ambivalence is displayed in the perception of democracy and social justice in relation to the very practical task of teaching music. Following the article’s results in relation to social justice, the music teachers’ opportunities for internal professional control and joint negotiation of their teaching task are discussed. The article thus advocates further reflection on the institutional structures and basic philosophical assumptions that appear to govern perceptions of music teaching, democracy and social justice in music educational practices at large.
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Kawka, Marta, Kevin Larkin i Patrick Alan Danaher. "Emergent learning and interactive media artworks: Parameters of interaction for novice groups". International Review of Research in Open and Distributed Learning 12, nr 7 (25.11.2011): 40. http://dx.doi.org/10.19173/irrodl.v12i7.1028.
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<p class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify; text-justify: inter-ideograph;">Emergent learning describes learning that occurs when participants interact and distribute knowledge, where learning is self-directed, and where the learning destination of the participants is largely unpredictable (Williams, Karousou, & Mackness, 2011). These notions of learning arise from the topologies of social networks and can be applied to the learning that occurs in educational institutions. However, the question remains whether institutional frameworks can accommodate the opposing notion of “cooperative systems” (Shirky, 2005), systems that facilitate the creation of user-generated content, particularly as first-year education cohorts are novice groups in the sense of not yet having developed university-level knowledge.</p><p class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify; text-justify: inter-ideograph;">This paper theorizes an emergent learning assessment item (Flickr photo-narratives) within a first-year media arts undergraduate education course. It challenges the conventional models of student–lecturer interaction by outlining a methodology of teaching for emergence that will facilitate student-directed and open-ended learning. The paper applies a matrix with four parameters (teacher-directed content/student-directed content; non-interactive learning task/interactive learning framework). This matrix is used as a conceptual space within which to investigate how a learning task might be constructed to afford the best opportunities for emergent learning. It explores the strategies that interactive artists utilize for participant engagement (particularly the relationship between the artist and the audience in the creation of interactive artworks) and suggests how these strategies might be applied to emergent generative outcomes with first-year education students.<br /><br />We build upon Williams et al.’s framework of emergent learning, where “content will not be delivered to learners but co-constructed with them” (De Freitas & Conole, as cited in Williams et al., 2011, p. 40), and the notion that in constructing emergent learning environments “considerable effort is required to ensure an effective balance between openness and constraint” (Williams et al., 2011, p. 39). We assert that for a learning event within a Web 2.0 environment to be considered emergent, not only does there need to be an effective balance between teacher-directed content and student-directed content for knowledge to be open, creative, and distributed by learners (Williams et al., 2011), but there also need to be multiple opportunities for interaction and communication between students within the system and that these “drive the emergence of structures that are more complex than the mere parts of that system” (Sommerer & Mignonneau, 2002, p. 161). <br /><br /></p>
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Dukes, Richard L., Jodie B. Ullman i Judith A. Stein. "An Evaluation of D.A.R.E. (Drug Abuse Resistance Education), Using a Solomon Four-Group Design With Latent Variables". Evaluation Review 19, nr 4 (sierpień 1995): 409–35. http://dx.doi.org/10.1177/0193841x9501900404.
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Gamboa, Jennifer M., Marshall Hagins i Tara Jo Manal. "An Analysis to Define the Clinical Practice of Physical Therapy for Performing Artists". Journal of Dance Medicine & Science 9, nr 2 (czerwiec 2005): 41–55. http://dx.doi.org/10.1177/1089313x0500900201.
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The Performing Arts Special Interest Group of the American Physical Therapy Association performed a study to describe the unique knowledge and responsibilities of physical therapists’ management of performing artists. This was a survey study using a non-experimental descriptive research design and a sample of convenience. A national advisory group (NAG) of subject matter experts created a list of 144 knowledge (foundational content) and responsibility (skills and abilities) items for inclusion in the survey. The final survey items were rated on frequency, critical-ity, and level of judgment. The survey was sent to 650 subjects who belonged to one of three major organizations with missions to advance health outcomes in performers. The response rate was 13%. The majority of respondents had between four and ten years of experience treating performing artists. In terms of frequency, almost all responsibility items within the survey occurred at least monthly. In terms of criticality, no item was ranked as low or minimally critical. Based on the generally high scores of all items, the NAG consensus was to include all items in the final description of specialized practice. The results of this survey study describe the core competencies for the specialized practice of physical therapy for performing artists. These competencies can be used to guide the development of continuing education opportunities, post-professional educational curricula (e.g., residencies or fellowships), future research endeavors, and credentialing efforts in the subspecialty of physical therapy for performing artists.
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Slabšinskienė, Eglė, Karolina Radlinskaitė, Aistė Kavaliauskienė, Ingrida Vasiliauskienė, Jūratė Zūbienė, Kristina Saldūnaitė-Mikučionienė i Apolinaras Zaborskis. "Do Subjects from Different Occupational Groups Experience Dental Fear and Anxiety Equally?" Medicina 60, nr 4 (21.04.2024): 674. http://dx.doi.org/10.3390/medicina60040674.
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Background and Objectives: Research into the relationship between occupation and dental fear and anxiety (DFA) is scarce. This exploratory study aimed to compare the level of DFA and its association with its predictors amongst adults from different occupational groups. Materials and Methods: A cross-sectional study with 422 respondents from four occupational groups (physicians, teachers, industry workers, and artists) was carried out. A questionnaire on previous dental experience using the Dental Anxiety Scale (DAS), Dental Fear Survey (DFS), and Self-Esteem Scale was self-administered electronically. The data analysis involved descriptive statistics and structural equation modeling (SEM). Results: The DFA levels differed significantly across the occupational groups, with the lowest mean scores among physicians (DAS = 9.29 (SE 0.39); DFS-1 = 14.67 (0.63); DFS-2 = 33.94 (1.69)) and the highest mean scores among artists (DAS = 10.74 (0.38); DFS-1 = 17.19 (0.71); DFS-2 = 41.34 (1.92)). A significant impact of self-esteem on DFA was observed among physicians, teachers, and artists, but not among industry workers. Multi-group analysis with SEM revealed differences in the variable association (Chi-squared = 53.75; df = 21; p < 0.001), thus rejecting the hypothesis of the same mechanism underlying DFA across occupational groups. Conclusions: Individuals from various occupations experience DFA at different levels, and there are different mechanisms underlying their DFA. These findings can provide valuable insights for dental practitioners in developing tailored approaches to reduce the feeling of DFA of their patients.
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Munroe, Robert L. "Altruism and Collectivism: An Exploratory Study in Four Cultures". Cross-Cultural Research 52, nr 3 (29.09.2017): 334–45. http://dx.doi.org/10.1177/1069397117733450.
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This exploratory study tries to interpret the results of a test of altruism among almost 200 children from four small-scale societies in Belize, Kenya, Nepal, and American Samoa. Samoan children and, to a lesser extent, Nepalese Newar children were altruistic in a dictator game test. We considered evidence that the four settlements varied according to a collectivistic dimension and that such collectivism may have strongly influenced responses to the test. Not only did test results correspond fully to degree of community collectivism across the four cultures (rank-order correlation coefficient = 1.00, p < .05, N = 4), but Samoan children also scored at the highest level across each age group from 3 to 9 years of age, and the Nepalese Newar participants scored at the second highest level at all ages. We posit that social and material conditions in Samoa and Nepal were likely sources of collectivism and, concomitantly, the strong altruistic tendencies but acknowledge that in exploratory research there will always be issues concerning interpretation.
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Torbenson, Michael, Arthur Aufderheide i Elden Johnson. "Punctured Human Bones of the Laurel Culture from Smith Mound Four, Minnesota". American Antiquity 57, nr 3 (lipiec 1992): 506–14. http://dx.doi.org/10.2307/280938.
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Punctured human long bones have been reported at numerous midwestern sites, but none have as large a concentration as Smith Mound Four (21KC3). This northern Minnesota mound was built by the people of the Laurel culture and dates to A.D. 565. Analysis of the bones suggests that they were perforated on the basis of inherited group affiliation for purposes that did not involve marrow extraction and may have related to ideas of spirit release.
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Klockgether, Stefan, Manuel Cattaneo, Robin Weiss i R. Peter Derleth. "Group conversation assessment in realistic acoustic scenes". Journal of the Acoustical Society of America 153, nr 3_supplement (1.03.2023): A334. http://dx.doi.org/10.1121/10.0019053.
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Successful communication in background noise is a continuous interaction between conversation partners. They continuously exchange conscious, unconscious, verbal, and non-verbal information regarding how well the other person is understood. Human communication is not limited to one-on-one interactions but can also happen in group conversation situations. The complexity of taking an active part in a group conversation is much higher though, since the continuous interaction happens with more than one conversation partner at the same time. To investigate human communication behavior, real conversations between groups of six people were observed in the Sonova Real Life Lab. All participants were allowed to move around freely within the lab space. The head position and orientation of all six participants was continuously monitored with an optical motion capturing system. The voices of all participants were recorded with wireless headset microphones, which allowed to assess individual vocal effort. During the conversation situation, background noise was played from all four directions simultaneously and systematically varied in overall level. The individual position data and vocal effort were used to estimate perceived communication difficulty and signal to noise ratios. The head orientation data was analyzed to estimate which individuals the participants were talking and listening to.
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Kuppers, Petra, VK Preston, Pamela Block i Kirsty Johnston. "Public Intimacies: Water Work in Play". Canadian Journal of Disability Studies 8, nr 1 (21.02.2019): 32–57. http://dx.doi.org/10.15353/cjds.v8i1.470.
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This essay emerges out of water. It follows the thoughts of four disability culture scholars and artists who went swimming together and reflected on artful methods of public somatic presence. The writing developed from Petra Kuppers’ initial queercrip aqua-fitness research, and from a series of communal post-swim free-writes in which the group meditated on boundaries and contiguity, on contagious laughter and demonstrative peace. The team conceptualized their self-care in a range of different ways: as political, as queered women’s labour, as deeply personal, and as forcefully communal. Through shared swimming, conversation, and writing, they became conscious of the flows and undertows of somatic practice.
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Shaw, Margaret. "AARTI: Australian Art Index". Art Libraries Journal 11, nr 1 (1986): 17–20. http://dx.doi.org/10.1017/s0307472200004454.
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The Australian Art Index, AARTI, is one of a group of data bases within the Ausinet network which will, between them, cover contemporary Australian art and architecture on a national basis. National coverage is possible because of the small size of the Australian population, the existence of people prepared to take on the task with managements to back them and the availability of a network with the flexibility to take data in a wide range of formats. AARTI contains records of four types: monographs, journal articles, exhibitions and artists’ profiles. By April 1985 it contained some 9,500 records available online with a microfiche alternative for non-Ausinet members.
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Kern, Stefan, Thomas Lavergne, Dirk Notz, Leif Toudal Pedersen i Rasmus Tonboe. "Satellite passive microwave sea-ice concentration data set inter-comparison for Arctic summer conditions". Cryosphere 14, nr 7 (28.07.2020): 2469–93. http://dx.doi.org/10.5194/tc-14-2469-2020.
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Abstract. We report on results of a systematic inter-comparison of 10 global sea-ice concentration (SIC) data products at 12.5 to 50.0 km grid resolution from satellite passive microwave (PMW) observations for the Arctic during summer. The products are compared against SIC and net ice surface fraction (ISF) – SIC minus the per-grid-cell melt pond fraction (MPF) on sea ice – as derived from MODerate resolution Imaging Spectroradiometer (MODIS) satellite observations and observed from ice-going vessels. Like in Kern et al. (2019), we group the 10 products based on the concept of the SIC retrieval used. Group I consists of products of the European Organisation for the Exploitation of Meteorological Satellites (EUMETSAT) Ocean and Sea Ice Satellite Application Facility (OSI SAF) and European Space Agency (ESA) Climate Change Initiative (CCI) algorithms. Group II consists of products derived with the Comiso bootstrap algorithm and the National Oceanographic and Atmospheric Administration (NOAA) National Snow and Ice Data Center (NSIDC) SIC climate data record (CDR). Group III consists of Arctic Radiation and Turbulence Interaction Study (ARTIST) Sea Ice (ASI) and National Aeronautics and Space Administration (NASA) Team (NT) algorithm products, and group IV consists of products of the enhanced NASA Team algorithm (NT2). We find widespread positive and negative differences between PMW and MODIS SIC with magnitudes frequently reaching up to 20 %–25 % for groups I and III and up to 30 %–35 % for groups II and IV. On a pan-Arctic scale these differences may cancel out: Arctic average SIC from group I products agrees with MODIS within 2 %–5 % accuracy during the entire melt period from May through September. Group II and IV products overestimate MODIS Arctic average SIC by 5 %–10 %. Out of group III, ASI is similar to group I products while NT SIC underestimates MODIS Arctic average SIC by 5 %–10 %. These differences, when translated into the impact computing Arctic sea-ice area (SIA), match well with the differences in SIA between the four groups reported for the summer months by Kern et al. (2019). MODIS ISF is systematically overestimated by all products; NT provides the smallest overestimations (up to 25 %) and group II and IV products the largest overestimations (up to 45 %). The spatial distribution of the observed overestimation of MODIS ISF agrees reasonably well with the spatial distribution of the MODIS MPF and we find a robust linear relationship between PMW SIC and MODIS ISF for group I and III products during peak melt, i.e. July and August. We discuss different cases taking into account the expected influence of ice surface properties other than melt ponds, i.e. wet snow and coarse-grained snow/refrozen surface, on brightness temperatures and their ratios used as input to the SIC retrieval algorithms. Based on this discussion we identify the mismatch between the actually observed surface properties and those represented by the ice tie points as the most likely reason for (i) the observed differences between PMW SIC and MODIS ISF and for (ii) the often surprisingly small difference between PMW and MODIS SIC in areas of high melt pond fraction. We conclude that all 10 SIC products are highly inaccurate during summer melt. We hypothesize that the unknown number of melt pond signatures likely included in the ice tie points plays an important role – particularly for groups I and II – and recommend conducting further research in this field.