Search

This article is an interview with Christophe Gobin, a mineral collector and dealer. Gobin's father, Christian, started collecting minerals in Morocco and eventually became a full-time dealer. Christophe and his brother, Brice, joined their father in the business and continued it after his passing. Gobin discusses the changing market for minerals, noting that they are undervalued compared to other collectibles. He also emphasizes the uniqueness and aesthetic beauty of minerals, and encourages collectors to continue pursuing their passion. The article includes photos of Gobin and some of the specimens in his collection. [Extracted from the article]

Postural control of people looking at 10 paintings of distinct artistic styles (5 Mondriaan's neoplasticism and 5 Pollock's action painting; N = 30) was investigated, using recurrence quantification analysis. Also, we explored the relation between postural control measures, emotional states of being moved ("Moved-By" and "Drawn-Towards"), and aesthetic appraisal ("Beauty" and "Complexity"). Results revealed differences in postural control, most notably more dynamically stable and complex postural sway in both the medial–lateral and anterior–posterior direction for Pollock paintings. Emotional states of being moved and aesthetic appraisal were associated with postural control across paintings, in several ways. For instance, paintings that people found more beautiful and felt more drawn towards, on average also tended to make them lean forwards more. Together these findings provide preliminary empirical evidence for the embodied nature of art experiences. [ABSTRACT FROM AUTHOR]

Inspired by the field of eco-crip theory, Dandelion Rebellion is the crip author's art-as-research project focused on accessible nature, environmentalism, and activism for weedy species such as the dandelion. Drawing on relationships between dandelions and disabilities, Dandelion Rebellion investigates urban nature and examines multispecies relations and responsibility. Accessibility is central to this project's design, participation, and conceptual process in digital and analog forms. Even as this project practices a model of accessibility, it also envisions a more fundamental reconceptualization of access called crip nature. [ABSTRACT FROM AUTHOR]

This study addresses Roger Scruton's understanding of what he called "moments of revelation". In two short essays, both entitled "Effing the ineffable", Scruton framed his discussion of moments of revelation with reference to the medieval Christian mystical discourse. Introducing the medieval discussion of this topic, this study provides an analysis of Scruton's approach to the theme. In tune with the traditional discourse on revelation, his general aim was to demonstrate that there are ways of revealing important truths about the supernatural, of the world "beyond the window", that do not require words to be pronounced. He calls our experiences of such phenomena moments of revelation and identifies four different transitory sources of revelation. This study deals with them one by one, after considering whether it is right to label such a revelation transcendental. The four sources of Scruton's moments of revelation are natural beauty, the beauty of painting, the beauty of music, and personal encounters. The first three examples are connected to his thoughts on art and beauty as a substitute of divine revelation. Perhaps the most surprising of these is the last ones, moments of intersubjective human relationships, "our knowledge of each other". Relying on both Buber and Levinas, Scruton makes the strong claim that it is in the other that we can experience that world "beyond the window". His phenomenological exploration of human encounters sheds light on concepts like grace, shekhinah, or real presence and gift. He explains the Christian understanding of the human–divine relationship as well along the lines of the nature of interpersonal human relationship, both of them being in a certain sense, he claims, transcendental. From grace, his account moves forward to self-sacrifice and finally arrives at his idiosyncratic understanding of gratefulness for life. His moments of revelation in art and interpersonal exchange turn out to be, indeed, late and secular versions of the Christian understanding of revelation. In its summary, this study claims that revelation, understood by Scruton as a form of general human experience, allows to catch a glimpse of that which is beyond the window, by the direct, sensually based experience of either the existence of another person or of the beauty of nature and art. [ABSTRACT FROM AUTHOR]

Joseph Kosuth, one of Concept Art's influential practitioners, credited Marcel Duchamp in an important 1969 essay, "Art After Philosophy", with instigating the shift from the visual to the conceptual by means of indifference and dematerialization. Duchamp's approach to art was not limited, however, to the realm of artistic intention but also included the (re)contextualization provoked by his readymades. This (re)contextualization elucidated the embodied, dialogical encounters of the artist-artwork-audience, what I identify as an "aesthetics of difference". This designation sets forth a framework of meaning that draws upon a burgeoning subset of early-twentieth-century personalist philosophy called dialogical personalism in order to offer a more suitable plausibility structure than the usual explanations of Duchamp and his approach to art, which typically revolve around nihilism, absurdity, and a solipsistic understanding of freedom. In doing so, Duchamp's artistic approach retains not only a more viable ontology for continuing to question the nature of art, but also has important epistemological and ethical implications. [ABSTRACT FROM AUTHOR]

The field of interior home design has witnessed a growing utilization of machine learning. However, the subjective nature of aesthetics poses a significant challenge due to its variability among individuals and cultures. This paper proposes an applied machine learning method to enhance manufactured custom doors in a proper and aesthetic home design environment. Since there are millions of possible custom door models based on door types, wood species, dyeing, paint, and glass types, it is impossible to foresee a home design model fitting every custom door. To generate the classification data, a home design expert has to label thousands of door/home design combinations with the different colors and shades utilized in home designs. These data train a random forest classifier in a supervised learning context. The classifier predicts a home design according to a particular custom door. This method is applied in the following context: A web page displays a choice of doors to a customer. The customer selects the desired door properties, which are sent to a server that returns an aesthetic home design model for this door. This door configuration generates a series of images through the Unity 3D engine module, which are returned to the web client. The customer finally visualizes their door in an aesthetic home design context. The results show the random forest classifier's good performance, with an accuracy level of 86.8%, in predicting suitable home design, marking the way for future developments requiring subjective evaluations. The results are also explained using a feature importance graphic, a decision tree, a confusion matrix, and text. [ABSTRACT FROM AUTHOR]

One insight at the heart of embodiment research is that the particular, material human body is the nexus of two loci: as an integration of sensory apparatuses, the body is the receptive locus of the world; at the same time, the body is the locus of responsive engagement with the world. Working from the framework of embodiment, this essay is a theological exploration of the arts, with particular attention given to the artist. The first half details two controlling ideas about the nature of embodiment and the arts: (i) the arts are necessarily embodied, and (ii) the Christian artist is in Christ's body. Here I examine how the artwork and the artist are necessarily embodied—the body is the horizon on which the arts are possible. With these two controlling ideas in hand, the second half of the essay considers three implications: (i) the artist works in and for the church; (ii) the arts are a gift of the Holy Spirit; and (iii) the arts are a place where the church experiences the Spirit's working. These implications yield, among other insights, the finding that Christ's body is the horizon on which the Christian arts are possible. [ABSTRACT FROM AUTHOR]

This study provides a contextual discussion and re-thinking of the concept of authenticity of West African Textile designs with the changing nature of art and design practices. It further discusses how textile fabrics have evolved through a complex mix of cultural assimilation, translation, transformation and migration; and simultaneously how the various African diasporas have created a dialogue that has shaped subsequent textile developments utilizing a delicate balance of cultural and textile discourses. The works of Yinka Shonibare, Trine Lindegaard, Philippe Bestenhieder, Junya Watanabe, El Anatsui, Grace Ndiritu and other artists and fashion designers who have drawn inspiration s from West African textile themes have been used as a means of discussing broader philosophical questions. Their works have found wider acceptance around the World and cast the right shadow for this study. These contemporary designers and artists have used West African textile fabrics in their work by exploring the uniqueness of their color, texture, symbolism, concepts or a combination of these characteristics. It has been inferred that shifting authenticities of process and materiality in contemporary art practice must be embraced as a positive phenomenon and must be considered to be part of a global creative endeavor. [ABSTRACT FROM AUTHOR]

Nature has aesthetics of its own, what can provoke the human mind into better recognizing the concept of beauty via mental perception. As such, human mind can interact with the nonverbal expressions of nature only to better his/her primitive aesthetic knowledge and reach a more novel recognition of aestheticism via the practice of interpretative deduction. This article has been the result of a series of discussions and dialogues between the authors on the nature of aesthetic geotouring and exploring the natural phenomena based on the Dialectical Method of Socrates and modelled after the Platonic dialogues. The outcome of this dialectic study brings to light the fact that touring in nature through providing the due opportunity for mental perception of aesthetic phenomena can provide a clearer definition of 'beauty' in its rich variety. Aesthetic search as such will culminate in forming a more illuminated mental concept of beauty in mind, what can influence human rationale for aesthetic judgment and enrich even more the texture of human aesthetic creation. Such aesthetico-interpretative endeavor might lead to a higher potential for creating more original works of literature and art and culminate in a better judgment about such aesthetic creations. [ABSTRACT FROM AUTHOR]

I explore some similarities between experiences of music and of analytic sessions. I focus on qualities of evanescence, the way that music – in contrast to many other arts – in one perspective only lasts as long as it is actually being played. Then it's over. The analyst-patient discussion in a session is similar. Yet the psychic reverberations of some transient, fugitive moments may last a lifetime. And even when no verbally profound understanding is occurring, nevertheless the patient-analyst encounter is emotionally significant. I illustrate this with a clinical example. I explore transference as illusion, and the relationship between truth and illusion in terms of Bion's O. I end with thoughts about the paradoxical value of the illusoriness of aesthetics and nature as considered by Freud in his short paper "On Transience" (1916), and the grin of Lewis Carol's Cheshire Cat, left hanging in the air. [ABSTRACT FROM AUTHOR]

Translation and translators are emerging as powerful catalysts for promoting vibrant cross-cultural interaction among individuals from different backgrounds. Commonly perceived as the process of converting content from one language to another, translation is a nuanced and multifaceted endeavor that transcends mere linguistic conversion. Translators act as adept mediators, deftly navigating the intricate web of diverse texts and cultures while shaping their uniquely insightful perspectives. This article explores the rich historical dimensions of translation, highlighting its deep connections to philosophical beliefs and socio-political dynamics. It also aims to enhance our understanding of the complex nature of this practice by dissecting various dichotomies in translation studies, including contrasting philosophical views of translation and divergent approaches to the art of translation. In today's interconnected world, the role of the translator has become increasingly indispensable, underscoring that translation goes beyond mere words; it serves as a mirror that reflects the ever-evolving globalized landscape. To chart a path forward, we must recognize the importance of revisiting the past, drawing wisdom from history, and gaining valuable insights for the future. [ABSTRACT FROM AUTHOR]

This article looks at the eighteenth-century ways of thinking about nature in connection with sociability and retirement by juxtaposing some of the poetry of the period with the discourses concerned with gardens and the aesthetics of garden design. In the writings of Anthony Ashley Cooper, 3rd Earl of Shaftesbury, Joseph Addison, William Gilpin, Elizabeth Montagu, and William Shenstone, the interest in the value of retirement as a much-needed respite from polite society is accompanied with some concern about the dangers of inactivity and idleness. Nature is thus supposed to offer an appropriately shaded, harmonious environment that provides spiritual reinvigoration and cultivation of taste, away from the tumult of urban crowds. In the poetry of Thomas Gray and William Blake, in turn, one may notice the evocation of nature as a more disturbing force, which, rather than merely confirming to the taste for harmony, seems to challenge some of the premises of polite culture. Paying attention to aesthetic thought, cultural history and poetic discourse, the article provides some insights into the complexity of the eighteenth-century aesthetics of nature. [ABSTRACT FROM AUTHOR]

One strategy that some cluster theorists pursue is to stipulate that the art-making properties that belong in the cluster are those typically associated with paradigmatic examples of art.[5] But, this strategy is inherently circular. Keywords: Aesthetic experience; agency; artistic medium; cluster theory of art; games EN Aesthetic experience agency artistic medium cluster theory of art games 321 331 11 12/22/21 20211101 NES 211101 Introduction Nguyen offers a number of profound insights about the nature and value of games. The ensuing debate among pluralists concerns what those art-making properties are and just how many art-making properties must an object possess to attain art-status. " Non-Western Art and the Concept of Art: Can Cluster Theories of Art Account for the Universality of Art?. [Extracted from the article]

To understand the internal structure of moral positions and the nature of moral disagreements, it would be useful to have a "moral sense" model of our different types of moral sensitivity, from our relatively spontaneous friendliness to our appreciation for traditional community norms, ideal ethical norms, and spiritual appeals to ultimate concern. After the first round of modern moral sense theory in Shaftesbury, Hutcheson, and Edwards, most discussions of the moral sense concept have centered on general theses about moral value (objective or subjective, rational or emotional) without attending to this complexity. Even though the familiar positions in these discussions are not reconcilable on the plane of ethical theory, they need not be seen as simply antagonistic. Working with clearly differentiated senses of both "moral" and "sense," this article refashions "moral sense theory" as a way of placing the insights of the classic moral sense theories, ethical rationalism, and a distinctly spiritual sensibility in a conceptually stable and empirically more discriminating order. The article also suggests strengthening the realist premise of moral sensing by invoking the model of a game player's operational sense of how things are going in pursuit of a game's objectives. [ABSTRACT FROM AUTHOR]

It is often assumed that in the collapse of the Aristotelian distinction between art and nature that results from the rise of mechanical philosophies in the early modern period, the collapse falls on the side of art. That is, all of the diversity among natures that was explained previously as differences among substantial forms came to be seen simply as differences in arrangements of matter according to laws instituted by the "divine artificer", God. This paper argues that, for René Descartes, the collapse occurs on both sides. Natures are artefacts of God, and human artefacts, under some conditions, can be classified as natures or, at least, continuous within nature. Drawing on developments across both horticulture and engineering in the 16th and 17th centuries, as well as Descartes' mechanical philosophy, this paper explores challenges to the Aristotelian nature/art distinction. The question then is what, in the advent of this collapse, are human artificers doing when they construct artefacts? Are they replicating God's powers by creating new natures, or are they doing something else, and if so, what might that be? It is argued that we should view human invention for Descartes not as creating new natures so much as discovering them. These findings have consequences for how we interpret Descartes' use of the term "nature" in relation to automata and other artefacts produced by human hands. [ABSTRACT FROM AUTHOR]

In the book "Ecological States: Politics of Science and Nature in Urbanizing China" by Jesse Rodenbiker, the concept of ecological civilization in China is examined as a political project that allows the state to shape nature, society, and space. The book explores how ecology has been used to consolidate state power and how ordinary individuals navigate within the state's vision of ecocivilization. It also delves into the relationship between aesthetics, science, and ecology in ecological civilization. The book provides insights into the politics of ecological civilization in China, including the displacement of rural populations and the contradictions of environmental governance. Overall, it is a valuable resource for understanding environmental politics in China. [Extracted from the article]

Qualitative researchers continue to push methodological boundaries to study social phenomena using arts-based practices. Research methodologists suggest that the arts open new possibilities in research through the very nature of the arts to stimulate and evoke perspectives. The arts promote dialogue, which yields new insights, highlights multiple meanings, and questions norm-based traditions. This article presents findings from a duo-ethnography to explore the application of the arts as a dialogic-reflexive process during the data analysis phase in qualitative research. Findings contribute with insights into how science and culture are combined methodologically to facilitate dialogic-reflexivity in research and meaning-making. [ABSTRACT FROM AUTHOR]

Leander Scholz's book, "Die Regierung der Natur. Ökologie und politische Ordnung," explores the interaction between ecological, social, and political thought. The book argues that ideas about political order have long been influenced by understandings of nature, and as our understanding of nature changes, so too does our conceptualization of political order. Scholz examines the historical entanglement of ecological and political thought, covering topics such as population size, resource constraints, geopolitics, and the emergence of system theory. The book emphasizes that ecological thought is not limited to any particular political ideology and highlights the complex relationship between nature and politics. [Extracted from the article]

Plankton researchers can point out that plankton dominated the first issue of 10 plates. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC 3 Levit, G. S. and Hossfeld, U. (2019) Ernst Haeckel in the history of biology. All in all, of the 100 plates of Haeckel's book on the art forms of nature, 37 were devoted to taxa of the plankton, solid evidence of the beauty of the plankton, explaining in part his own devotion to plankton research!. [Extracted from the article]

One of the oldest theories about the nature of art is the theory of "imitation". For the first time, Plato discussed the theoretical foundations of this theory from a philosophical point of view. What is central in the Platonic position regarding the nature of mimesis is the existential distance between the original and the copy. This approach has caused different reactions in the history of philosophy. In the contemporary era, Hans-Georg Gadamer has evaluated the issue of mimesis and the Platonic approach based on his philosophical hermeneutics. Contrary to Plato, he does not place the status of copy in a lower position compared to the original, rather, the copy itself can play the role of the original in terms of "increase in being". Based on this attitude, instead of measuring the copy based on the original, it is the copy that can transform our perspective about the original itself and even ourselves. According to this, the work of art, even if it is a copy of something, can still cause "recognition". In this article, while describing Gadamer's anti-Platonic position on the relationship between the original and the copy, we will evaluate his attitude and show that, despite his emphasis on the independent being of the copy, he sometimes unintentionally returns to the Platonic position. [ABSTRACT FROM AUTHOR]

This paper explores the paradoxical nature of contemporary art, which is a negation of all previous values, criteria and practices. It conceptualizes the problem of cognitive and aesthetic indistinguishability between art and non-art in 21st-century art practices. The result of the lack of criteria for judging and evaluation is the irrelevance of categories and differences. Aesthetic uncertainty is the new canon. [ABSTRACT FROM AUTHOR]

An interview with Antoine Wagner, a Franco-American photographer and video installation artist, is presented. Topics include how to create a kind of ecosystem of working in traditional theatrical space in a digital environment; and reversed game of musical chairs set to improvisations in which performers sit during the music and stand in natural environments with the harmony of art and nature.

This paper aims at tracking down, by looking at late medieval and early modern discussions over the ontological status of artifacts, the main steps of the process through which nature became theorized on a mechanistic model in the early 17th century. The adopted methodology consists in examining how inventions such as mechanical clocks and automata forced philosophers to modify traditional criteria based on an intrinsic principle of motion and rest for defining natural beings. The paper studies different strategies designed in the transitional period 1300–1600 for making these inventions compatible with classical definitions of nature and artifacts. In the first part of the paper, it is shown that, even if virtually all medieval philosophers acknowledged an ontological distinction between artifacts and natural beings, these different strategies demonstrate a growing concern about the consistency of the art/nature distinction. The next part of the paper studies how mechanical clocks, even before the Scientific Revolution, served as theoretical models for applying mechanistic views to different objects (be they cosmological, physical or biological). The epistemological function of clocks appears to stem from different factors (like the specific manufacturing of late medieval clocks as well as the evolution of 16th-century mechanics) that are listed in this second part of the paper. These factors, combined with the definitional issues raised by automata, explain that clocks became the symbol of a new approach to natural philosophy, characterized by the collapse of the art/nature distinction and the "mechanization of nature". [ABSTRACT FROM AUTHOR]

There is a growing interest in the Japanese appreciation of nature in environmental philosophy. However, numerous studies on the subject put forward several ambiguities and contradictions about the Japanese conception of nature. This article aims to investigate these ambiguities and contradictions by considering the Japanese word shizen as an "untranslatable". In philosophy, the investigation of the meaning of an untranslatable term includes determining its polysemy in the source language and clarifying the difficulties when the term is translated into another language. To this aim the article examines the semantic differences between shizen and nature, the conceptual difficulties in defining a particularly Japanese conception of nature, and the semantic history of the term shizen. Such an examination reveals not only the significance of the polysemy of shizen in the discussions on the Japanese perception of nature but also how different meanings of the term nature intermingle in them. [ABSTRACT FROM AUTHOR]

This paper reconstructs Margaret Cavendish's theory of the metaphysics of artifacts. It situates her anti-mechanist account of artifactual production and the art-nature distinction against a background of Aristotelian, Scholastic, and mechanist theories. Within this broad context, it considers what Cavendish thinks artisans can actually do, grounding her terminological stipulation that there is no genuine generation in nature in a commitment to natural and artistic production as the mere rearrangement of bodies. Bodies themselves are identified, in a conceptually Ockhamist manner, with their figures, so that the resulting theory of mere rearrangement is Scholastically respectable. The paper also offers literal interpretations, focused narrowly on the philosophical content of her theories of art and artifacts, of her claims that art concerns only "nature's sporting or playing actions", that its products are "deformed and defective", and that they are "at best ...mixt or hermaphroditical." [ABSTRACT FROM AUTHOR]

Friederike Brun, née: Münter (1765–1835) became a famous writer in the German-speaking areas of Europe around 1800. She published collections of poems and travelogues in German, brought up as she was in the German and cosmopolitan circle in Copenhagen around Klopstock, Gerstenberg, her father, court chaplain Balthasar Münter, and others. Not least the writings of Ossian (MacPherson), Shakespeare, Gray and Richardson influenced her together with J. J. Rousseau. This contribution focuses on her early writings from 1782 until 1790. They have so far been neglected in research, being the products of a young woman, but they show the wide horizon of her circle, her father's education of her, his introduction of her to the German intellectual elite of the time and her talent as a writer in a sentimental and enlightened-romantic tradition inspired by Schiller and Herder. She is interested in the aesthetics of nature and the relations between nature and culture and can in this respect be seen as an early ecocritical writer. Furthermore, she demonstrates female emancipation around 1800 and a cosmopolitical consciousness in a Europe heading towards national boundaries as well as language and gender barriers. [ABSTRACT FROM AUTHOR]

Article presents the results of a complex traceological research of the famous statue of the „prince"of Glauberg, found in an Early La Tène funeral complex in Glauberg (Hesse). Research focused also on two other fragments of related sandstone sculptures, found together with the Glauberger prince. The sandstone „prince"of Glauberg was already in the past a subject of many archaeological studies. Nevertheless, all or absolute majority of them were focused on aspects of art historian nature or on the question of the origin, role and function of such sculptures in the Early Iron Age Central Europe. On the contrary, the aim of our research is oriented exclusively on the questions related to the manufacture of this sculpture, identification of used sculptor´s tools and applied working techniques. Our research was realised by means of digital documentation followed by the aplication of traceological methods. The character of the survived working traces on the sculpture´s surfaces was studied by mechanoscopy, while the material of used tools was determined by X-ray fluorescence. The reconstructions of used tools were compared with the existing tools as represented by the Iron Age archaeological finds. This comparison was oriented on the most relevant regions of developed La Tène culture, particularly on South Western Germany and Bohemia. However, also other relevant area, significant as the possible source of inspiration of Celtic sculptors for the creation of the monumental sculpture–Apennine peninsula, was taken into consideration. Our research revealed individual steps and phases during the sculpture´s manufacture, enabled the reconstrucion of used tools and confirmed real existence of such tools in mentioned regions. Finally it has brought first indices of the necessity of the distinguishing between ideological and technological aspects of related Celtic sculpture, when considering possible influence of Apennine peninsula on transalpine Central Europe. [ABSTRACT FROM AUTHOR]

Urbanization severely reduces opportunities for nonhuman habitation and undermines nonhuman subjectivities, aesthetic experiences, behaviors, traditions, and cultures. In response, humans need to reimagine cities as places for interspecies cohabitation. In this article, a team of architects and ecologists demonstrates that such reimagination depends on the cultural behaviors of multiple species. The authors illustrate the implications of this dependence by designing and discussing nesting structures for the powerful owl (Ninox strenua). The project shows that prosthetic habitats can serve as useful provocation for thinking about interspecies cultures. The authors use this work to propose productive avenues for further research. [ABSTRACT FROM AUTHOR]

BACKGROUND Recovery from surgery is a stressful experience for patients, both physically and psychologically. Previous research has shown that increased stress has effects on post-operative outcomes. Non-pharmacological therapies, such as experiencing nature, may be potential avenues to further improve patient care. METHODS PubMed and Google Scholar were searched for the terms "nature," "plants," "surgery," "post-operative outcomes," and "pain". RESULTS There were very limited numbers of studies looking into the effect of plants, nature, and art on post-operative outcomes. Those that did exist were relatively low quality in design. Nevertheless, exposure to plants was associated with a slightly reduced systolic blood pressure and reduced self-reported stress levels and pain intensity. Similarly, a retrospective study found that patients in rooms with views of nature consumed less analgesia on days three to five post-operatively, and had a slightly shorter hospital stay. Views of artwork were associated with increased mobilization distance on day one post-operatively, but this association disappeared from day two onwards. Some evidence exists that nature and images of nature can improve pain tolerance in university students, but this may not generalize well to the clinical population. CONCLUSION There is limited evidence to support the thesis that the view of plants, nature, or art can improve post-operative outcomes. The papers identified in this review were of low quality with limited statistical power. However, enabling access to nature and art could be an avenue for non-pharmacological improvement of patient outcomes, and high-quality studies are warranted. [ABSTRACT FROM AUTHOR]

On the nature of creative arts and media research. [ABSTRACT FROM AUTHOR]

Land Art, Environmental Art, and Nature Art often appear as art concepts that are called or mixed interchangeably. Land Art and Environmental Art are avant-garde art genres that emerged in America in the late 1960s and influenced western countries throughout the 1970s and 1980s. They are approaches that take into account sculptural features created with pre-designed natural and unnatural materials where they are performed. They encompass artistic experiences such as time-oriented individual performance in nature and collaborative "social awareness projects". However, most of the artifacts were made with heavy-duty machinery, without paying due attention to the ecology of the environment in which they were produced. In Nature Art, which was institutionalized with the Korean Nature Artists Association (YATOO) in 1981; Applications made using natural materials such as stones, soil, ice, branches, leaves and the possibilities of the land come to the fore. The design process of the work is recorded or documented by photographing the completed work. The work is left to the natural cycle of nature. While studying the Natural Art, which is the focus of the research, international and national groups that actively organize events on this art movement, individual producing artists, as well as case studies will be provided. YATOO, ORANKI (Finland), ART SELLA (Italy), BAGGAT ART ASSOCIATION (Korea) are international active groups that carry out natural art works, while Izmir-based PATIKA ART GROUP and Gaziantep-based TOPRAK ART GROUP are the groups that carry out natural art works in Turkey. The aim of this study is to introduce the general characteristics of Natural Art and the groups of Natural Art made in Turkey and the first Natural Art works. It is thought that the dissemination of Natural art works, both as production and the bringing of the resulting works to more people will be meaningful for the development of nature conservation awareness. [ABSTRACT FROM AUTHOR]

The article summarizes the major topoi of Hegelianism that Malraux adopts in his texts on art (The Voices of Silence, The Imaginary Museum and The Metamorphosis of the Gods), before focusing, in particular, on Malrucian interpretation of the end of art and on the links that the latter has with his own concept of the imaginary museum. According to some of Hegel's exegetes (Bernard Bosanquet, Martin Heidegger, Jean-Luc Nancy, Thierry de Duve, but also Theodor Adorno, Arthur Danto, Joseph Kosuth, Rainer Rochlitz or Jan Patočka), the end of traditional art paves the way for its retrospective conceptualization, its reconfiguration in the public space, as well as for very exciting debates on the nature of contemporary art, post-religious, post-national, post-historical in a way. The article illustrates the original place that Malraux occupies within this "positive" and creative interpretation of the end of art. [ABSTRACT FROM AUTHOR]

The article summarizes the major topoi of Hegelianism that Malraux adopts in his texts on art (The Voices of Silence, The Imaginary Museum and The Metamorphosis of the Gods), before focusing, in particular, on Malrucian interpretation of the end of art and on the links that the latter has with his own concept of the imaginary museum. According to some of Hegel's exegetes (Bernard Bosanquet, Martin Heidegger, Jean-Luc Nancy, Thierry de Duve, but also Theodor Adorno, Arthur Danto, Joseph Kosuth, Rainer Rochlitz or Jan Patočka), the end of traditional art paves the way for its retrospective conceptualization, its reconfiguration in the public space, as well as for very exciting debates on the nature of contemporary art, post-religious, post-national, post-historical in a way. The article illustrates the original place that Malraux occupies within this "positive" and creative interpretation of the end of art. [ABSTRACT FROM AUTHOR]

Art coupled with nature provides numerous therapeutic benefits to reduce stress and reframe aging for older adults. This article outlines five eco-art activities to use in the context of individual or family counseling. Stress and the aging process is addressed, as well as the numerous therapeutic benefits of nature for the aging family. Nature combined with art increases self-expression, social engagement, and sensory stimulation. Nature-based activities decrease stress and anxiety and recreate purpose and meaning using the metaphors that exist in nature. The proposed activities focus on themes found in nature to reduce stress and reframe aging for individuals and families. [ABSTRACT FROM AUTHOR]

The article examines the collaborations between the pensionnaires of the Villa Medici in Rome and the members of the French School of Athens, shedding light on the complex relationships between architecture, art, and archeology. The second half of the 19th century was a period during which the exchanges and collaborations between archaeologists, artists, and architects acquired a reinvented role and a dominant place. Within such a context, Athens was the place par excellence, where the encounter between these three disciplines took place. The main objective of the article is to render explicit how the revelations of archeology, actively disseminated by the members of the French School of Athens—the "Athéniens"—had an important impact on the approach of certain pensionnaires of the Villa Medici in Rome. Particular emphasis is placed on certain pensionnaires, who decided to devote their envois to ancient monuments of Greece. In parallel, the article intends to shed light on the methods that helped the pensionnaires-architects of the Villa Medici in Rome appropriate archaeological discoveries concerning Greek antiquities. The article takes, as a starting point, the following hypothesis: to better understand the figure of the architect-archaeologist, of whom Jacques Ignace Hittorff is an emblematic example, it is pivotal to bear in mind that before the second half of the 19th century neither the figure of Hellenic archeology nor the figure of the architect had yet acquired their autonomy. Taking into account that Johann Joachim Winckelmann, in the middle of the 18th century, forged an ideal Greek model, which was criticized during the second half of the 19th century, the article also sheds light on the fact that the revelations of archaeologists have called into question the Winckelmannian image of Greece. Another aspect that is explored in the article is Jacques Ignace Hittorff's studies concerning the polychromy of ancient Greek monuments, paying special attention to his Restitution du temple d'Empédocle à Sélinonte ou l'Architecture polychrome chez les Grecs. The article also explores how the shifts of the status of philhellenism are related to the mutations of the meaning of travel to Greece. In parallel, it investigates the impact of Greek independence on the ideals of beauty and nature in arts, as well as how Greek independence is related to the intensification of the interest in the excavations of Greek antiquities. [ABSTRACT FROM AUTHOR]

The term Anthropocene, which expresses the impact of human activities on ecosystems, defines the geological age we live in. In the Anthropocene era, many environmental problems, especially global warming and climate change, are seen. Ecological art is a contemporary art that focuses on environmental problems by drawing attention to the importance of the human element. In the study, It is aimed to examine the Ice Text Project carried out within the scope of the Cape Farewell, founded by David Buckland, Terike Haaopoja's Dialog and Mel Chin's Cli-mate projects in line with the explanations of the artists. For this purpose, ecological art literature is explained in the context of the relationship between contemporary art and nature. It has been understood that ecological art projects provide awareness about the causes of global warming and climate change. It is thought that the examination of ecological art projects will accelerate the interaction of science, art and society. [ABSTRACT FROM AUTHOR]

This paper reviews the nature of archetypes in analytical theory, grounded in the transpersonal archetype of the life cycle. It then examines the nature of aesthetics, the aesthetic attitude, aesthetic inquiry, and aesthetic practices in the art and psyche of C. G. Jung and in the art of the African Diaspora. In the art of the African Diaspora the primary focus is on Pan African sculpture and the influences of African culture on aesthetics. These cultural influences include historiography, religion, mythology, ethnic group style, techniques, artistic skills, and an African aesthetic criteria of excellence to help see beauty within and across cultures. The approach to the subject matter adopts an interdisciplinary perspective, drawing from the literature in analytical psychology on Jung, his art and psyche; on contributions to African art historiography by contemporary art historians and curators of African Art; and from the personal aesthetic inquiry and clinical practice of the author. It concludes with consideration of the psychological properties of aesthetics, aesthetic practices, and the power of active imagination in healing personal and collective intergenerational trauma, and for optimal development across the life span. [ABSTRACT FROM AUTHOR]

This paper investigates the case study of William Powhida and two different contracts that the artist developed: first, the intentionally draconian contracts that the artist developed within an artwork, Grevsky, to force artists into subordinating their intellectual property position to commodification, and second, the contract that the artist William Powhida, the person, developed to ask his friends to help him store art. Applying Grant's (2013) framework of givers, takers, and transactors, this paper presents a conceptual framework of ungenerous and generous contracts. The paper makes the argument that economic awareness, legal strategy, and a spirit of friendship can co-exist and that draconian contracts are rarely needed in an arts context in which stakeholders are likely to have shared interests in both sides of a contract. This analysis presents a more generalizable framework of non-zero-sum contractual negotiation in relation to the artistic and financial nature of works of art, as well as an argument for the importance of rhetoric and contractual structures of collaboration and friendship. These contractual questions become increasingly important as artists employ self-executing "smart" contracts for blockchain-based or non-fungible token (NFT) works, and as artists continue to rely on contracted freelance work. The increased reliance on digital working conditions creates higher stakes rights management given likelihood of recording. [ABSTRACT FROM AUTHOR]

This article examines the acrimonious relationship between Elizabeth Inchbald and Mary Wollstonecraft through the lens of their differing approaches to feminism and sensibility. In her novels and plays, Inchbald relied on sentimental female characters to direct sympathy toward women, while Wollstonecraft was outspoken about the need for more progressive reform. Wollstonecraft objected to Inchbald's sentimental strategy in her reviews of Inchbald's novels, A Simple Story (1791) and Nature and Art (1796), for the Analytical Review. Although Wollstonecraft's premature death in 1797 ended any further debate between the two women, this essay argues that Inchbald's play Lovers' Vows (1798), an adaptation of August von Kotzebue's Das Kind der Liebe (1780), was informed by her relationship with Wollstonecraft, and can be read as a response to Wollstonecraft's criticism of her novels and a model of her own feminist literary strategies. [ABSTRACT FROM AUTHOR]

The article recommends a book and a movie and offers information on the fern species. It describes the themes and plots of the book "Split Tooth" by Tanya Tagaq and the film "Manchester by the Sea." It explains that Dicksonia antarctica or the Soft Tree Fern is from Tasmania and Australia and that the marine water velvet fern Azolla cristata can fix nitrogen in rice paddies. Also mentioned is the vascular and reproductive systems of ferns.

Nassar goes back to Immanuel Kant's I Critique of Judgment i for her genealogy of Romantic Empiricism. In line with Rigby, Nassar asserts that looking at Romanticism is helpful in renegotiating our troubled relationship with nature; however, for different reasons and with different authors in mind than Rigby suggests. At this juncture, Nassar traces back the origin of the Romantic empirical thinking to Herder's idea that an analogy between art and nature lays at the foundation of science. [Extracted from the article]

The article discusses a commentary presented at the Annual Congress on Medical Education, Medical Licensure, Public Health, and Hospitals held in Chicago, U.S. It critiques the dominance of laboratory training in medical education, advocates for early clinical exposure, draws parallels with the practical methods of historical figures like Thomas Sydenham, and emphasizes the importance of observation and common sense in medical practice.

This study is consecrated to the reception and interpretation of the Aristotelian adage "ars imitatur naturam" (Physics II, 2, 194 a 20-25). St Thomas states, like Aristotle, that art imitates nature, but his manner of understanding the reason for this imitation or resemblance is not exactly that of the Philosopher. For St Thomas, it is one and the same Divine Intelligence which is the principle of natural realities and of human art: 1) of natural realities, for these were formed from the Divine Ideas, 2) of art because the human intelligence is a certain participation in the divine intelligence. Like Aristotle, St Thomas affirms that art accomplishes what nature cannot do, but the numerous manners of understanding this accomplishment lead further than his master. St Thomas envisages art as an accomplishment by man of his own nature, a possible substitute for the faults of nature and a help brought to nature to attain its ends. When St Thomas finally maintains that nature is the work of art of God, and in an appropriated manner, the work of the Word, "the art of the Father", the doctrine of imitation of nature by human art becomes indirectly an imitation of the divine art to the work of nature. Trinitarian theology of Creation turns upside down the interpretation of the adage and gives it an impact that Aristotle could not have foreseen. The balance which St Thomas holds between a doctrine which is totally exemplary like that of Plato, and a doctrine of creativity like that of Nicolas of Cusa, gives him to think of the artistic inventiveness and the production of new forms without necessarily turning artistic activity into creative activity. [ABSTRACT FROM AUTHOR]

Assisted reproductive technology (ART) is a global market engaging a variety of local moral economies where the construction of the demand–supply relationship takes different forms through the operation of the politics of value. This paper analyzes how the market–culture relationship works in different settings, showing how power and resources determine what value will, or will not, accrue from that relationship. A commodity's potential economic value can only be realized through the operation of the market if its cultural status is seen to be legitimate. At the same time, local moral economies and their associated social orders are potentially susceptible to the destabilizing implications of new commodities. The formal or informal organization of power relationships in the market–culture interaction can enable potential value to become manifest and tangible over time or block its path. The interaction is steered through national institutional sources of cultural authority embedded in state and religion, where the visible contest in the politics of value is conducted. Increasingly, that interaction finds its expression in transnational institutions of governance where the struggle for control of the cultural agenda reflects the global nature of the ART market. [ABSTRACT FROM AUTHOR]