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This paper examines how Italian visual artists are now structurally encouraged to be proficient in performing activities unrelated to field-specific criteria, or – to use the words of one respondent – why they are supposed to "be good at being incredibly good at doing stuff they don't know how to do." Drawing on qualitative data (N = 135), four dimensions of unartistic yet binding concerns are explored: networking relationality, bureaucratic "callification," systemic politics, and outward visibility. To analyze this dynamic, the concept of "Matryoshka roles" is introduced. Although uncharacteristic of artists' work and nested inside its surface depiction (Matryoshka), each dimension entails a set of injunctions and sanctioned behavior (roles) that reconfigure the reality of contemporary visual artists and vitiate the separation between internal vs. external principles of hierarchization. Reflecting on the autonomy of the field of visual art as a transitory historical phase, mechanisms of fields' heteronomization are addressed. By considering a series of factors (e.g., differences among early- and late-career artists, presence on social media, perception of heteronomous practices, most distinctive accomplishments, career junctions), the increasing pressure of meta-fields of economics, power, and state is detailed. [ABSTRACT FROM AUTHOR]

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Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article looks at images of wildflowers in contemporary Israeli art and their evolution in Israel's visual cultural. Wildflowers were regarded a part of the Zionist ideology in strengthening the connection of the Jewish People to the Land of Israel. They served as “cultural objects’ that contributed to shaping national identity by appearing on stamps, bank notes, in official Zionist publications and in botanical guidebooks. The article examines how contemporary Israeli artists relate to this tradition by looking at the artworks of six contemporary Israeli Jewish artists, using both visual analysis and in-depth interviews with the artists. The findings indicate that contemporary artists conduct a complex dialogue with the wildflowers and challenge their national symbolism. The images reflect an ambivalent relationship that includes attachment and belonging alongside discomfort and criticism. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Akdeniz Sanat is the property of Akdeniz University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the role of data-driven humanities in the analysis of art. Topics mentioned include use of computer vision to scale visual research and study visual culture, the application of evolutionary metaphors to understand cultural forms, and the reproduction of cultural objects in the digital era by using the concept of Darwinian evolutionary process.

The project KopiaKollektiva was created in Havadtõ/Viforoasa, Romania by young artists from different domains as a project dedicated to the possibilities of village people to access contemporary culture. Visual culture (photography 126 and film) is central in the activity of the association, and workshops, exhibitions organized in everyday locations, usually non-cultural spaces, offer new possibilities to enlarge the scope of contemporary culture. Zoltán Balla and Emõke Kerekes, the founders of the association offer a detailed description of their vision in the reportage dedicated to their activity. [ABSTRACT FROM AUTHOR]

The author discusses curatorial research project Communicating Difficult Pasts 2018-2024 by Margaret Tali and Ieva Astahovska with specific focus on the final exhibition in Difficult Pasts. Connected Worlds at the Tallinn Art Hall, Lasnamäe Pavilion (August-October 2024). [ABSTRACT FROM AUTHOR]

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Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the article is to explore the key aspects activity of a producer's role as an organiser of a photography project and the popularisation of a photographer's creativity in the global cultural-art space. The research methodology involves the application of a combination of methods: analytical - for understanding the literature on the topic of the article, dissecting the research object into components for detailed study of its structure and internal connections; semantic - for determining meanings and interpreting linguistic units, studying content aspects in the context in which they are used; comparative - for studying project activities in photo art and other forms of art and comparing them; action research - for involving the researcher directly in the processes they study, allowing them to influence these processes and simultaneously analyse the impact of their actions. This approach enabled the exploration of the issue of integrating creative photographic works into the cultural-art space at national and international levels. The scientific novelty lies in the systematic generalisation of the characteristics of a successful artistic photo project and in identifying the role of the photography producer in it, introducing the scientific term of "photography producer" and "art elevator" into the scientific discourse. Conclusions. Based on the study of the role of the photography producer in an artistic photography project, his role in popularising the creativity of the photographer is highlighted. Factors influencing the process of presenting fine art photography have been analysed, which include the necessary synergistic communicative relationship of the photography producer with the author (artist) and all participants of the photography project, in which the photography producer plays a leading role and possesses key factors for successful execution of the photography project such as: influence on the creative content and quality of presentation of photographs, logistics, communication, marketing. It is asserted that analysing the practice of photography production in Ukraine helps to define conditions that foster the presentation and sale of Ukrainian photography art, allowing for the integration of Ukrainian photo art not only into the national but also into the international cultural-art space, making it part of the global visual culture. [ABSTRACT FROM AUTHOR]

The purpose of the article is to reveal the specifics of the use of visual art tools in the creation of a modern screen product by the director-author in close collaboration with the cameraman and the artist. Research methodology. In the study of the problem, a complex methodological approach was applied, the method of analysis and synthesis, sociocultural determination, systematisation and generalisation, the method of comparison, the comparative method was used. The method of figurative and stylistic analysis and the analytical method in their combination was aimed at considering the art-historical aspect of the problem. The scientific novelty of the study is that the director's creativity is investigated in the context of the visual culture of the screen work and became the subject of a special study for the first time; the accuracy of the use of the system method in the study of the features of the director's plastic language of the screen work is substantiated; a figurative and stylistic analysis was carried out and the peculiarities of creating a frame by means of fine art were revealed. Conclusions. The materials presented in the study expand the knowledge about the specifics of the visual culture of the author's directorial screen language in various worldview models and enable their application in educational courses, the creation of educational and methodological literature on the theory and history of cinema and television, visual arts, directing. [ABSTRACT FROM AUTHOR]

This article explores the representation of terminal brain cancer in Marion Coutts's memoir The Iceberg (2014), on her husband's illness and death, and Marco Peano's autofiction L'invenzione della madre (The invention of the mother; 2015), about a son who cares for his mother during her final days. While addressing the medicalization of dying and the efficacy of palliative care, both texts engage pervasively with visual culture. This emphasis on the visual arts and cinema provides a thought-provoking commentary on the protagonists' experience of witnessing the gradual erosion of verbal expression in their dying loved ones. This essay will thus explore both the use of visual culture as palliative praxis and the authors' implicit considerations on the role of narrativity in dying. [ABSTRACT FROM AUTHOR]

This article investigates the centrality of Black art collectors in the dissemination of Black art and culture as the art world became less accessible to Black artists, ironically, during the 1980s art boom. The essay chronicles the controversy over a proposed move of the Studio Museum in Harlem to Museum Mile on the predominantly White Upper East Side, investigates the importance of cultivating a Black art-buying constituency, and assesses the quest of Black visual artist Romare Bearden and his allies for mainstream recognition at the cost of a Black arts institution. This article draws on newspaper articles, personal correspondence, and organizational records to examine the politics of Black middle-class patronage networks and their impact on Black artists and art institutions as the art world became financialized in the 1980s. [ABSTRACT FROM AUTHOR]

In this essay Vilém Flusser outlines a liberating approach to aesthetic education that overcomes the disintegration of culture exemplified by the disastrous tripartition of science, politics, and art. Flusser views this tripartition as an inevitable consequence of the unmanageable quantity of information available to modern humans that prevents them from participating completely and acquiring true competence in culture. The response to these overwhelming quantities of information is a turn to specialization. Flusser contrasts this current state of culture with the imagined unity of the Stone Age before the dissolution of a unified culture. As part of his solution to this dilemma, Flusser rejects the view that knowledge of every aspect of culture must be the prerequisite for competence with culture. He posits instead that the task of future education will be to train students to access, connect, and manipulate the information that modern technologies allow us to store. In this way the goal of school will be to train generalists, not specialists. Knowledge transfer is out. These generalists are quasi artists who participate actively in the growth of culture. Flusser evokes an original meaning of art from before the tripartition, art as method, in this case a method that facilitates communication between different subcultures and generates new information from what our technologies have stored. [ABSTRACT FROM AUTHOR]

This study is focussed on the conservation and restoration of the stone intricate art and craftsmanship of Chaukhandi Tombs in Sindh, Pakistan which is the blend of Islamic and traditional Sindhi style of architecture (almost vanished now). This hidden treasure in the form of assemblage of monumental structures with heavy stone decoration portrays the glorious funeral architecture of 15th and 18th century. The multidisciplinary methodology was adopted comprising of literature mapping, field and visual surveys, condition assessment for documenting the heritage site. This study highlights the importance of conserving and preservation of such traditional assets since it distinguishes their importance in considerate our collective human history and heritage inheritance. The results clearly shown the rapid deterioration mainly due to neglect, inaccessibility and harsh climatic conditions. The Chaukhandi Tombs needs a serious attention with restoration plan with the involvement of the community for sustainable tourism. [ABSTRACT FROM AUTHOR]

This article explores the way a new specifically Georgian post-Stalinist art form (cheduroba , metal engraving) that emerged in the 1960s became a commonly encountered emblematic feature of the equally new urban spaces of the rapidly changing modernist Tbilisi cityscape. This new, and yet seemingly old, art form, which frequently featured the face of a traditional Georgian girl, usually a Khevsur girl from the mountains, came to be a diagnostic part of the modern urban assemblage of Tbilisi in the 1960s. This traditional face from the Georgian past became a paradoxical figure for the alliance of art and architecture in the visual aesthetics of the modern Georgian city in the 1960s, and the art form became the stereotypical "face" of a specifically Georgian post-Stalinist "traditional-modernist" public urban art. This art form soon became diagnostic of modern Georgian urban spaces, like the Tbilisi metro, which also opened around the same time in the 1960s. The recurrent distribution of this face across newly-created modernist urban spaces together formed a Georgian version of "socialist modernism," producing a visually-experienced "brand of socialism" for urban spaces, a procession of images traditional or national (in style or theme) in socialist modernist spaces connecting the traditional architecture of the city to the modernist architectural spaces of the new socialist city of the 1960s. [ABSTRACT FROM AUTHOR]

This article expands the study of museums and public culture in postcolonial South Asia and the Global South through an exploration of non-state house museums in contemporary Nagaland, a state in north-east India that is Indigenously inhabited, predominantly Christian, and was home to an armed movement for political autonomy over 1953–97. It demonstrates that the political significance of the Naga house museum as a site of history, heritage and identity rendered invisible in state-funded exhibitionary arenas that display an essentialist image of Naga Indigeneity is not only anchored to the labour of non-state actors, but also to the open-ended and oscillating ties between ritual and secular frames of exhibition and reception that animate it within an expanded field of visual and exhibitionary cultures. In doing so, this article challenges the dominant European and North American imaginary of the historic house as the basis for normative understandings of the house museum. If canonical accounts of house museums focus on their 'museumness', this study seeks to foreground the 'houseness' of the house museum in postcolonial South Asia. [ABSTRACT FROM AUTHOR]

Transness throws into question how many so-called Western cultures—i.e., those ideologically descended from the colonial project—have sutured "reality" to the "privileging of sight". At the crux of trans-visual culture is a need to be understood outside current modes of visual apprehension. As a methodology rooted in trans-embodied experiences, trans provides a mode for decolonizing the privileging of sight and moving toward a new understanding of bodies, identity, representation, and visual culture. It is imperative to explore such methods in today's political climate, and it is advantageous to apply them to trans-visual culture, as exponential innovations can be discerned. In this article, I will deploy a trans visual studies methodology to the work of contemporary trans masculine artist and photographer Wynne Neilly to explore how his work engages a praxis of transing identity. I will discuss how his work shifts the understanding of identity and representation to one decoupled from optical ontology and how he works to unseat White masculinity as the center of Western art and visual culture. [ABSTRACT FROM AUTHOR]

Background and problem of study:Design plays a vital role in highlighting the visual identity of the artwork, especially if it is linked to a well-known historical identity. It can reveal the culture of any country and re-present it in an easily assimilable way for the most significant possible number of people, as art in its various forms aims to enhance culture and find new ways to preserve history while achieving a vision for the future. The research problem appears in the existence of a large gap between the Arab recipient and his cultural identity, as well as the lack of sufficient knowledge of the role art in its various forms can play in introducing people to their cultural identity/ visual culture. Objectives: To show the possibility of elements of design arts in their various forms in Arab identity realization. Methods: The research adopted the descriptive-analytical approach. Results: The research concluded the possibility of the visual arts of design to document the Arab identity with modern tools such as digital technology, to attract the attention of recipients of different nationalities to the Arab identity in an easily attractive modern way. Conclusions (Recommendations and contributions): The study recommends working on producing innovative designs to achieve the cultural needs of the Arab youth recipient, as well as studying the visual aesthetic needs of Arab youth to apply them in various artistic and cultural fields in their countries. [ABSTRACT FROM AUTHOR]

In medieval bestiaries, knowledge about animals and their behavior is regularly given a Christian moral interpretation. This article explores the use of imagery related to the bestiary tradition in three Hebrew books made around the year 1300, focusing especially on the richly decorated Rothschild Pentateuch (Los Angeles, Getty Museum MS 116). These Hebrew books signal how bestiary knowledge and its visual expression could be adapted to enrich the experience of medieval Jewish reader-viewers, adding to our understanding of Jewish-Christian interactions in medieval Europe. [ABSTRACT FROM AUTHOR]

Despite their increasing visibility on highways and in prominent spaces in cities and villages across Nagaland and Naga-inhabited regions in northeast India since the early 1990s, monuments to the history of Naga nationalism have failed to garner significant scholarly attention. On the one hand, they are dismissed by urban Nagas as passive illustrations of the ideologically motivated “agendas” of Naga nationalist organizations. On the other, their continuities with the Naga stone monolith form remain unaddressed, rooted in the longstanding assumption that the influx of Christianity and literacy has meant that “tribal culture” is ruptured from the present. If the former approach suffers from a limiting historicism that imprisons the monument within a preconceived sense of historical and chronological time, the latter reproduces the problem of essentialism, which denies the Naga stone monolith any time. In this article, I challenge the dismissal of these monuments on both historicist and essentialist grounds. I demonstrate that their formal, scalar, and spatial particularities materialize a monumental form that constantly slips across the border between the secular domain of the war monument and the ritual domain of the Naga stone monolith. This movement across these supposedly separate and opposed domains of practice enacts a plural and layered temporality, which foregrounds monumentality as the ground to engage the lived realities and histories of a borderland region. It also illuminates the political significance of the aesthetic in the Indigenously inhabited and politically contested region amidst its marginalization by the state in postcolonial South Asia. [ABSTRACT FROM AUTHOR]

Despite their increasing visibility on highways and in prominent spaces in cities and villages across Nagaland and Naga-inhabited regions in northeast India since the early 1990s, monuments to the history of Naga nationalism have failed to garner significant scholarly attention. On the one hand, they are dismissed by urban Nagas as passive illustrations of the ideologically motivated “agendas” of Naga nationalist organizations. On the other, their continuities with the Naga stone monolith form remain unaddressed, rooted in the longstanding assumption that the influx of Christianity and literacy has meant that “tribal culture” is ruptured from the present. If the former approach suffers from a limiting historicism that imprisons the monument within a preconceived sense of historical and chronological time, the latter reproduces the problem of essentialism, which denies the Naga stone monolith any time. In this article, I challenge the dismissal of these monuments on both historicist and essentialist grounds. I demonstrate that theirformal, scalar, and spatial particularities materialize a monumental form that constantly slips across the border between the secular domain of the war monument and the ritual domain of the Naga stone monolith. This movement across these supposedly separate and opposed domains of practice enacts a plural and layered temporality, which foregrounds monumentality as the ground to engage the lived realities and histories of a borderland region. It also illuminates the political significance of the aesthetic in the Indigenously inhabited and politically contested region amidst its marginalization by the state in postcolonial South Asia.

Grounded in Place: Dialogues between First Nations Artists from Australia, Taiwan, and Aotearoa

This special issue of Pacific Arts centers on the theme “Pacific Island Worlds: Transpacific Dis/Positions,” which was the topic of a two-day series of events held at the University of California, Santa Cruz (UCSC) in May 2018. This generative meeting explored Oceanic rootedness and mobility, grounded and expansive kinships, worlding, place-making, and colonial histories and their legacies. In important ways, it grew out of the “Native Pacific Cultural Studies on the Edge” symposium, also hosted by UCSC, nearly two decades earlier. “Pacific Island Worlds” was dedicated to the memory of Teresia Teaiwa, a graduate of UCSC’s History of Consciousness doctoral program (2001) who had passed away in 2017 and whose academic, activist, and creative work profoundly inspired Pacific studies scholars and artists around the world. Our introduction is a story of two conferences—moments, pauses, in an ongoing flow of historical, political, and intellectual activity.

We live in the visual culture times, when images continuously and daily are transferring some information. A visual message is also an indispensable element of architecture, in the semantic layer as an aesthetic value, sometimes fulfilling a narrative function by means of a symbol, which is an international visual code. Most of the symbols, hidden in painting, sculpture, or architecture, are elements of nature. The article discusses examples of architecture whose form is based on a lotus flower. Unification of urban landscapes leads to a decrease in the value of aesthetic impressions; therefore, the unique architecture builds the unique identity of the place. [ABSTRACT FROM AUTHOR]

This article investigates the manifestation of Venetian visual culture of the Renaissance in the island of Cyprus, which, between 1474/89 and 1570/1, stood as one of Venice's Mediterranean colonies. To date, scholarship on panel and wall painting production of Venetian Cyprus has devoted careful attention to the infiltration of Italian details and styles in the broader sense—mainly drawn from the Italian Middle Ages—thus failing to notice any correlations between Cypriot visual arts and contemporary Venetian. In this study, I aim to provide an overarching perspective that will illuminate the presence and assimilation of fifteenth- and sixteenth-century Venetian visual vocabulary in Cypriot artistic capital. With an emphasis on devotional painting, I will examine iconographic schemes, such as the Man of Sorrows and the Holy Conversation, and facets of stylistic and iconographic correspondences between the two territories. I will also probe the architectural function, purpose, and tenor of lunette-shaped panels in Cyprus and collate them with their Venetian equivalents. Put simply, I hope to flesh out the artistic contact Cypriot artists and their sponsors maintained with Venice rather than with Italy as a whole. [ABSTRACT FROM AUTHOR]

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Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The colonial visual archive has occupied in recent decades the work of scholars and artists from indigenous and racial minority communities, who revealed it as a major apparatus of historical meta-narratives. This article aims at pushing forward this preoccupation by revealing an additional scene: the art of Mizrahi women, descendants of Jewish communities of Arab and Muslim countries. Relying on a visual culture approach and focusing on an analysis of artworks by Mizrahi artist Vered Nissim, as well as on photographs of Mizrahi women, fund in Zionist archives, I demonstrate how Nissim's work challenges the racial category of Mizrahi women as "natural workers", constructed in the Zionist historical meta-narrative. Nissim does so by re-enacting the category's paradigmatic visual image—the Mizrahi women cleaning worker—in a different way, visually and discursively. Body, voice, and visual image, three instances of the subjectivity of Mizrahi women cleaning workers that were separated, shaped, and mediated through Zionist colonial visual archives unite in Nissim's work when embodied by a real Mizrahi woman cleaning worker: her mother, Esther Nissim. By casting her mother to play herself over the past twenty years, Nissim creates political conditions for the appearance of her mother as the author of her own history as she orally, bodily, and visually writes it in front of her daughter's camera. Thus, Nissim joins a transnational phenomenon of global south artists who create political conditions enabling the self-imaging of colonized peoples, empowering the reading of colonial imagery and the historical meta-narratives attached to it through their situated knowledge and lived experience and, thus, constructing a counter history communicated visually. [ABSTRACT FROM AUTHOR]

This article provides a critical introduction to a double issue of Journal of Visual Art Practice. The issue, titled 'Situations of Writing', explores the intersections of art practice, hybrid forms of writing, and knowledge production. It draws together a variety of contributions that variously delve into the complexities of writing with and around images, emphasising experimental approaches, and reimagining traditional scholarly publishing. This introduction situates the key problematics, drawing upon historical examples, but within the present-day context of academic, digital publishing. The editors urge practitioners to challenge conventional modes of academic writing, inviting makers, authors and readers to have a stake in an evolving landscape of art practice and visual culture studies. Setting out a combined exploration (and making) of form, content, and the structures of address, this special issue paves the way for new possibilities in scholarly research and knowledge dissemination. [ABSTRACT FROM AUTHOR]

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The article examines the origin of the trope of the crocodile bird in Egyptian culture and its dissemination in classical, Islamic, and Jewish traditions. It discusses whether the crocodile bird actually existed and which bird species could be identified with it. The text describes various versions of a story about the friendship between a crocodile and a bird that was widespread in ancient literature. It also points out that the trochilus may be mentioned in Byzantine poetry and in Horapollo's treatise on hieroglyphs. However, there is no clear evidence for the depiction of the trochilus in visual art. The article describes the origin and dissemination of the trochilus trope, a narrative about a bird that cleans the teeth of a crocodile. The story originated in ancient Egypt and was passed down in various cultures, including Greek, Roman, Islamic, and Jewish traditions. [Extracted from the article]

This article explores the reflections of Caribbean culture found in mid-century calypso album cover art. Calypso cover art offers important documentations of Caribbean folk life and cultural identity pre-independence, but at the same time, facilitate the exportation of colonial fantasies about local life to attract tourists. The images examined invariably construct Caribbean islands as "places to play" (Sheller, 2003) and its people as carefree and even childish natives. We use semiotics and critical visual analysis to analyze mid-century record album cover characterizations of the primordial rhythm of folk life and caricatures of native culture, as well as the ways touristic esthetics adapted Calypso, including the figure of the Coconut Woman, as a soundtrack for colonial fantasies and fuel for the colonial gaze. This article reveals how minor, even peripheral, objects such as Calypso records promoted as fun and festive consumer goods reveal powerful, yet relatively unnoticed, insights into visual communication. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte y Políticas de Identidad is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the visual interpretations of the Spirit in the Beatus illuminated manuscripts. This study will follow methods emerging in the discipline of visual criticism where visual art of biblical texts function like commentaries by offering visual interpretations. This study will investigate the visual interpretations of "John being in the Spirit" (Rev 1:10; 4:2; 17:3; 21:10) and the seven Spirits who are identified as the seven torches, the seven eyes, and the seven horns of the Lamb (Rev 1:4; 3:1; 4:5; 5:6) in the Beatus illuminated manuscripts. [ABSTRACT FROM AUTHOR]

Legibility can seem as similar to the quintessence of musical notation, without which any attempt at musical inscription has fundamentally no purpose. Nevertheless, the visual culture of the English Renaissance is full of surviving examples that feature music books that are, fundamentally, illegible. Such instances are not useless, but rather shed vital light on the concerns of the visual culture of the English Renaissance, as well as what representation meant to the people who originally created and viewed these objects. What does it mean to include sheet music that merely looks similar to, but does not manifest, as legible notation? When does an object lose its semantic value? When do writing, notation, and signification pull lose from their seams and cease to be meaningful? Through the lens of a trio of objects (Four Children Making Music by the Master of the Countess of Warwick, an anonymous furnishing panel from Hardwick Hall, and a wall painting from High Street, Thame) that feature partially, or tantalizingly, legible musical notation, this paper seeks to explore the ramifications of visually depicting things that are and are not readable. Such objects have a graphic eloquence beyond the simple equation of sign and signified. Ultimately, entertaining the concept of illegible music notation within visual art objects as a deliberate stylistic choice, I argue that we can greatly enhance our understanding of what the notes on the page could mean in the English Renaissance. [ABSTRACT FROM AUTHOR]