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This paper analyzes Italian artist Auro Lecci's contribution to pioneering media art, beginning with his paintings and ending with his computer artworks (1969–1972). As the author suggests, Lecci's paintings were already characterized by an algorithmic method that the artist went on to develop in his computer-generated works. The paper first discusses the plotter drawings Lecci created at the Computing Center of the University of Pisa (CNUCE), and then focuses on his last computer art project, made at the University of Massachusetts in Amherst, to suggest connections between Lecci's work and artificial intelligence. [ABSTRACT FROM AUTHOR]

The article focuses on the concept of "debordering" in woodcut printmaking practice in an inter-Asian context, exploring how artists from East and Southeast Asia challenge and dismantle borders through their artwork. Topics include the political manipulation of borders, the formation of borders from various factors, and the role of woodcut printmaking in connecting marginalized communities and promoting dialogue across regions.

An introduction is presented in which the editor discusses a special issue exploring the intersection between Surrealism and the sacred, featuring artworks by collaborative visual artists Ryan M. Pfeiffer and Rebecca Walz.

The article focuses on the exploration of Louise Bourgeois's artworks, particularly her Spider sculptures, in the context of Surrealism and personal history. Topics include the symbolic significance of the Spider sculptures as an ode to her mother, Bourgeois's engagement with Surrealist ideas and rejection of them later in life, and the influence of Parisian Surrealist circles on her artistic development in the 1930s.

The article focuses on the city of Lagos in West Africa and its significance in human development and modernity. It discusses how Lagos has been a hub of economic, political, and artistic activities for centuries, and how it has inspired artistic production by various creative minds. It examines the works of contemporary visual artists who has depicted Lagos in their artworks, analyzing paintings, sculptures, and drawings that represent the physical aspects and realities of the city and highlights the historical, geographical, cultural, and cosmopolitan nature of Lagos, as well as the challenges and joys of living in the city.

The article discusses the historical evolution of graphic analysis in paintings, exploring various methods artists have employed to diagrammatically represent the underlying structure and forms of artworks. It delves into 19th-century approaches to schematic drawings, contrasting two types of analytical schemas utilized by artists like David Sutter and Walter Crane in dissecting the compositions of artworks.

Metabolism holds potential as both a crucial topic and an analytical tool for our current biopolitical moment, for understanding the agency and significance of material forces as they move into and through bodies. From this vantage point, this article suggests practicing a metabolic gaze by reading together metabolism and contemporary art. It discusses ways of defining metabolism that might be productive in helping to produce tools and touchstones for metabolic readings, before presenting examples of artworks that might be interestingly illuminated by light of this sign. [ABSTRACT FROM AUTHOR]

Experientialism in aesthetics is the view that the artistic merit or the aesthetic value of something is determined by the final value of certain experiences of it. These are usually specified as experiences of it with understanding and appreciation. Until recently, experientialism was the dominant view. Not anymore. Experientialists are now subject to a barrage of objections, many of which they have not answered. Here I argue that all of these objections fail. I develop a new form of experientialism that is immune to them. It also has an independent rationale. It incorporates an account of the value of art appreciation that is plausible in its own right. And it endorses many of the core insights of anti‐experientialists, especially concerning the final value of good art. Those of us unconvinced by experientialism need to take this form of it seriously. I conclude by identifying some genuine problems it faces. Even these aren't clearly insoluble. [ABSTRACT FROM AUTHOR]

Scholars criticize privileging aesthetics over social and ecological considerations in park design. I argue that the real culprit is not aesthetics, but aestheticism. Aestheticism treats aesthetic objects as if they were ontologically distinct from everyday objects. Aestheticism in park design—treating parks like artworks to be admired like paintings—dovetails into treating parks like representations of a romanticized wilderness: of pristine, untouched landscapes. I argue that aestheticism is a means of constructing an ontological distinction between the beholder and the beheld, for landscapes are not truly pristine if they are sullied by human presence. As an alternative, and while drawing on the works of John Dewey and Yuriko Saito, I argue for a continuity between everyday objects and aesthetic objects. I also draw attention to the question of whose every day is privileged and propose to introduce Wittgenstein's concept of multi-aspectivity in the analysis of everyday affordances. [ABSTRACT FROM AUTHOR]

The article focuses on the Diocesan Museum of Sacred Art in Vitoria-Gasteiz, Spain, which houses a collection of religious art with international significance, sourced from over 400 parish churches in the surrounding region. Topics include the museum's organization into various sections based on stylistic and chronological developments, materials used in the artworks, and the diverse origins of the artwork ranging from local to international artists and donors.

This article examines the narrator's viewing of Jerusalem and Judea, the Jerusalem Temple, and the high priest's performance of the liturgy in the Letter of Aristeas (§§83–120). The first section considers the aesthetics that Aristeas views as operative in Jerusalem and demonstrates how his art-critical analysis of Jewish objects reveals them to follow Greek aesthetics more closely than Alexandrian artworks, which instead bespeak imperial excess. The second section proposes that, although he may appear to be on a military reconnaissance, the Letter highlights Aristeas' experience of witnessing and being overwhelmed by the high priest Eleazar performing the liturgy. In concluding, it suggests that Aristeas' mind-altering experience of viewing the liturgy in Jerusalem has great import for the narrative of the Torah's translation into Greek. Telling the story of a Jewish translation involves a Greek transformation. [ABSTRACT FROM AUTHOR]

This article analyzes how artists and scientists use emotion as a methodological tool to study participants and cocreate projects. It uses a science and technology studies approach to identify a typology of five emotion assemblages and the material, social, and cultural components that make them operate. These assemblages include or eliminate cultural and environmental context, the role of participants, and artist/researcher reflexivity The paper argues that there is an imperative for artists, designers, and researchers to make deliberate choices as to who or what to include and exclude when working with emotion. [ABSTRACT FROM AUTHOR]

This article deals with the intersection between bereavement, gender, and art in the context of the cult of the fallen in Israel, focusing on the life story and artwork of two women artists, Asnat Austerlitz (b. 1969) and Michal Shachnai Yaakobi (b. 1967) who experienced orphanhood in a military context. Adopting the two-track model of bereavement suggested by Simon Rubin in 1981, the article offers an analytical, interdisciplinary examination of their artworks as adult women artists who are aware of the fragility of life and its finite character but also understand the importance and significance of continuing emotional bonds after death. Both have developed in diverse medium gender-based artistic creations related to the cult of the fallen creating models of alternative and counter-hegemonic memory that are manifested through personal languages full of irony, fantasy, and pain. [ABSTRACT FROM AUTHOR]

This article conceives of landscape as something that is colonised, acted upon and defined through cultural and artistic processes. It makes reference to an EU-funded project based in different European countries which sought to research how art education can become infused with principles and values found in Education for Sustainable Development. The article describes the theoretical framework, training and implementation of lessons by teachers involved in this research project and finally offers a creative response to artworks produced by students during three lessons delivered by participating teachers. [ABSTRACT FROM AUTHOR]

This article aims to present some analyses about the way of looking at and using art to teach mathematics, implied by the act of visualization and visuality, which put specific ways of learning into operation. To this end, a workshop that used paintings by Mozambican artists is used and was carried out with Mozambican students in a Licentiate course in Mathematics Teaching. The analysis undertaken here is carried out in two movements: in the first one, mathematical thinking is put into practice with Mozambican paintings: symmetry, hyperbole, and parabola. In the second, attention is drawn to truths about the teaching of mathematics with art, for example, the statement that artworks as support contextualizing the learning of mathematics. Finally, we conclude by alluding to a decolonial ethos, which highlights a critical and continuous attitude, aligning itself with an exercise of making visualities visible to put art into practice with mathematics for teaching. [ABSTRACT FROM AUTHOR]

The author focuses on the film "Le Petit Soldat" in 1963 that reveals set of picture of war, soft porn and advertisements and mentions irreducible empirical visual representation in concept of image, reproductions of works of art in artwork "Mnemosyne Atlas" by artist Warburg, and affirmation of a reciprocal relation between images and words.

The article focuses on fine art enjoyed by prehistoric people and tracing of prehistoric cave painting back to Indonesia. Topics discussed include lack of evidence on appearance of stone effigy artwork in North America until Archaic Period, birdstone designs changed by Early Woodland people of the Adena Culture to formulated Great Pipe efficacy art form and Hopewell Culture that took art to prehistoric metal and stonework.

The employment of digital technology in recent instances of artwork replication raises important questions about the perceptual and ontological distinction between original and copy, for the latter is purported to be even more authentic than an original that has undergone alterations. Such instances challenge not only Benjamin's claim about the loss of aura but also Goodman's distinction between autographic and allographic arts. The article proposes to rethink the original/copy dualism from the perspective of the cult image. In the devotional traditions of Graeco-Roman polytheism as well as Christianity and Buddhism, cult images are approached not as representations, but as animated entities endowed with thaumaturgic powers that can be ritually transferred onto copies. From this perspective, replication is not about reproducing more or less faithfully the original, but engendering a double as effective as the original. Finally, the bearing of this perspective on contemporary works of art is considered. [ABSTRACT FROM AUTHOR]

The article "Editorial: Content" in the magazine Imago discusses the relationship between content and form in art. It emphasizes that content shapes form and vice versa. It argues that artworks often fail to adequately convey the intended content. Examples are given of how politicized contemporary art and art education often neglect content and instead use narrow tasks that hinder creative engagement. The article emphasizes the importance of a balanced relationship between content and form in art and art education. The essays in this volume shed light on the art educational theme of content from various perspectives. Fundamental considerations are made regarding the tension between content and form, and action perspectives for theme-oriented artistic work in the context of higher education are presented. Furthermore, it is shown how the content of documentary photographs can be questioned and differentiated from a postcolonial perspective. Another contribution describes an artistic project with elementary school students that focused on the fairy tales of Hans Christian Andersen. Additionally, the question of educational potentials in engaging with artworks is raised. Another text deals with film didactic aspects and demonstrates, using a Greek film, how a specific film aesthetic is created. [Extracted from the article]

The article focuses on several work of the artist Moyra Davey. Topics include examines Davey's Instagram account manifests a disdain for the hierarchies of the art world and notions of a kind of fetishized art photography, something Davey has steadily undermined with her insistently un-precious images that mark a fundamental disinterest in art world aura.

This paper aims to explore the Painting Classification in art teaching under Machine Learning. Based on Emotional Semantics and Machine Learning, the Emotional Semantics of the traditional image are expounded. Firstly, Emotional Semantics are applied to figure painting in art teaching. Then, the convolutional sparse automatic encoder model is introduced in Painting Classification. Finally, the accuracies of the Painting Classification of the Support Vector Machine classifier (SVMC) and that of the Naive Bayes classifier are compared, and the relevant conclusions are drawn. The accuracy of Painting Classification is positively correlated with the scale of painting. After analysis, the painting set is classified in a ratio of 2 : 1, with 2/3 as training set and 1/3 as test set, which is conducive to the good accuracy of classification. In Machine Learning, proper whitening can improve the accuracy of Painting Classification to a certain extent. However, when the whitening treatment coefficient is selected, it cannot be too large, and the average pooling is more accurate than maximum pooling. After the comparison of the new SVMC, the Naive Bayes classifier, and the convolutional sparse automatic encoder, the convolutional sparse automatic encoder has the highest accuracy of Painting Classification. Therefore, the Painting Classification in art teaching under Machine Learning is explored, which is of great help to the classification work of students or teachers in the future. [ABSTRACT FROM AUTHOR]

Contrary to the received view according to which the value of works of art consists exclusively or primarily in their aesthetic value I argue that the importance of aesthetic value has been grossly overrated. In earlier publications I have shown that the assumption stipulating that the value of artworks consists exclusively in their aesthetic value is demonstrably wrong. I have suggested a conceptual distinction between the aesthetic and the artistic value arguing that when it comes to evaluation the artistic value, which reflects the significance of innovations exemplified by the work, is no less important than the aesthetic value. Here I take the argument a step further by suggesting that the aesthetic value is considerably less important than the artistic value. To show this I draw attention to a neglected aspect of art evaluation, namely to the monetary value of artworks. Although there is no necessary connection between monetary value of works of art (determined by supply and demand) and their aesthetic value or their artistic value, it can nevertheless tell us something important not only about the overall value of works of art (as art) but also about the relative importance of the two component values. I show that the enormous differences between monetary values of different artworks cannot be accounted for by the corresponding differences in their aesthetic value but can be explained by the differences in their artistic value. [ABSTRACT FROM AUTHOR]

In a recent paper, James Edwin Mahon (2019) argues that literary artworks—novels in particular—never lie because they do not assert. In this discussion note, I reject Mahon's conclusion that novels never lie. I argue that a central premiss in his argument—that novels do not contain assertions—is false. Mahon's account underdetermines the content of literary works; novels have rich layers of content and can contain what I call 'profound' assertions, and 'background' assertions. I submit that Mahon therefore fails to establish that novels never lie. [ABSTRACT FROM AUTHOR]

The article presents the discussion on destroying the artwork and removing it from the cultural landscape. Topics include conflict arising from the forced co-ownership demonstrating the artist's interest somewhat protected through copyright law; and recognizing in American legislative history during the Civil War in the first military code of conduct a clause.

The article focuses on the London Consortium's MRes and doctoral programs' students' academic papers and essays. It states that the former students of the institute mostly work in higher education, and others are involved in artwork, writing, or filmmaking. It also mentions some of the works of the former students, such as Noam Andrews, The Polyhedrists: Art and Geometry in the Long Sixteenth Century (MIT 2022), Lily Ford, Taking to the Air: An Illustrated History of Flight, etc.

This article argues for the value of using formal models within the (digital media) artwork. Eschewing the antiformalism common to much of postmodernism, it argues for a more active engagement with formal concerns. Without embracing the totalizing theories of late modernist formalism, or discarding the idea of "the concept," the author argues for a more formal approach to the making of the (digital media) artwork. The goal is to point to models that can be used to intimately connect form and concept rather than treat them as separate or warring entities. The article critically explores three very specific digital media artworks that endeavor to bridge the gap between formalism and conceptualism, each pointing to indicative (but not exhaustive) methods for reuniting form and concept. [ABSTRACT FROM AUTHOR]

Slow looking is an increasingly prevalent strategy for enhancing visitor engagement in the gallery, yet there is little research to show why looking at artworks for longer should be beneficial. The curator of a recent exhibition of Pierre Bonnard at the Tate Gallery in London encouraged viewers to look slowly in order to enrich their experience of Bonnard's paintings. This article explores some of the reasons why Bonnard's work, in particular, rewards the viewer who spends more time studying it. The authors draw on various scientific studies of the ways in which observers process color contrasts, spatial configuration and figure-ground segregation in artworks and in everyday vision. They propose that prolonged interactions with works of art can facilitate perceptual learning, and they suggest ways in which these effects could be empirically studied using psychological methods. [ABSTRACT FROM AUTHOR]

This article argues for the value of using formal models within the (digital media) artwork. Eschewing the antiformalism common to much of postmodernism, it argues for a more active engagement with formal concerns. Without embracing the totalizing theories of late modernist formalism, or discarding the idea of "the concept," the author argues for a more formal approach to the making of the (digital media) artwork. The goal is to point to models that can be used to intimately connect form and concept rather than treat them as separate or warring entities. The article critically explores three very specific digital media artworks that endeavor to bridge the gap between formalism and conceptualism, each pointing to indicative (but not exhaustive) methods for reuniting form and concept. [ABSTRACT FROM AUTHOR]

The article examines that Christie's Dubai sold a large painting to a private American bidder as the work, entitled La Négresse aux Bracelets (Negress with Bracelets) was created by the late Egyptian modernist Mahmoud Said and features a nearly life-size female figure seated beside a window that looks out onto the streets of Alexandria. Topics include examines that La Négresse within a wider corpus of fine artworks depicting "Black" and "Egyptian" people and created in Egypt between the World Wars.

The article presents the discussion on the artworks from Jingyuan Zhang relocating to Xining of Qinghai province in Northwest China with the parents after the outbreak of the Cultural Revolution.

An interview with St. Louis artist Van McElwee, whose "Time Fork: World B" is on exhibit at Laumeier Sculpture Park in Sunset Hills, Missouri, is presented. Topics include talks about how Time Fork: World B evolve from an idea into an artwork and what conceptual framework and physical components had to come into play.