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ABSTRACT In language arts classrooms, dialogic teaching encourages diverse text interpretations, fostering discussions that enhance students' literacy skills like reasoning. However, adopting a dialogic stance poses challenges for both teachers and students. The study investigated the impact of a tailor‐made dialogic intervention on a Chinese rural teacher and students' stances towards texts. Chinese rural students shifted from efferent and instrumental stances to a more critical‐analytical stance, indicating a profound change in how rural students interacted with texts through exploratory talk, highlighting the potential of dialogic teaching practices to foster deep engagement with reading materials. However, after the intervention ended, the teacher reverted to a monologic approach due to limited dialogic texts and time constraints. The findings underscore the potential of dialogic teaching for engaging rural students, yet highlight the need for sustained teacher training and suitable texts. Future research should focus on cultivating and maintaining students' growth mindset effectively in rural settings. [ABSTRACT FROM AUTHOR]

Translation abstract Museum Reinhard Ernst – When concrete floatsThe foundation‐funded Museum Reinhard Ernst (mre) in Wiesbaden houses the collection of entrepreneur and benefactor Reinhard Ernst. It contains nearly 2000 works and sculptures of abstract art, 960 of which are considered museum‐worthy. The building was designed by the recently deceased Japanese Pritzker Prize winner, Fumihiko Maki. This museum is the architect‘s tenth and his only one in Europe. The Frankfurt architecture firm schneider+schumacher were commissioned to realise the project, and Bollinger and Grohmann were in charge of structural engineering. The building has a fully glazed entrance area and an open‐plan atrium, creating a bright and inviting interior. With high ceilings and wide walls, there is plenty of space to display large works of art in the 2500 m2 exhibition area. The museum opened for exhibitions in June 2024. The new building was primarily constructed using in‐situ concrete. The structural design is characterised by several special features, including the high exhibition rooms with a standard span of over 12 m and the building‘s recesses on the south and north‐west sides and towards the atrium. [ABSTRACT FROM AUTHOR]

This paper adopts a geosemiotics perspective to the study of top-down views produced by drone hobbyists to explore how they challenge or disrupt traditional meanings associated with verticality. Using a dataset of 748 drone visuals collected from two months of participant observation on social media platforms, we identify four unique functions of top-down views: as abstract art, as transformations of the mundane, as playful mapping and as dronies. Through prototypical examples, we demonstrate how civilian drones have created new forms of visualising and embodying our world, acting as intermediaries between humans and nature and, thus, challenging persisting negative associations of the link between verticality and power. Overall, our findings encourage a reappraisal of the drone as an object and see it instead as a complex material assemblage of the sky, which has the ability to extend our perception, modify our geographical imaginations and multiply our possible interpretations of the top-down view. [ABSTRACT FROM AUTHOR]

A visual stimulus that is divided in harmonic proportions is often judged as more pleasant than others. This is well known by artists that often used two main types of geometric harmonic patterns: symmetry and the golden ratio. Symmetry refers to the property of an object to have two similar halves, whereas the golden ratio consists of dividing an object in a major and a minor part so that their proportion is the same as that between the whole object and its major part. Here we investigated looking behaviour and explicit preferences for different regularities including symmetry and golden ratio. We selected four Mark Rothko's paintings, a famous abstract expressionism artist, characterized by two main areas depicted by different colours: one symmetric (ratio between areas: 50–50%), one in golden ratio (38–62%), one in an intermediate ratio (46–54%), and one in a ratio exceeding the golden ratio (32–68%). Thirty-six healthy participants (24.75 ± 3.71 years old) completed three tasks: observation task (OT), pleasantness task (PT), and harmony task (HT). Findings for explicit ratings of pleasantness and harmony were very similar and were not significantly correlated with patterns of looking behaviour. Eye Dwell Time mainly depended on stimuli orientation (p < 0.001), but for the harmony task also by ratio and their interaction. Our results showed that the visual scanning behaviour of abstract arts primarily depends on the orientation of internal components, whereas their proportion is more important for the pleasantness and harmony explicit judgments. [ABSTRACT FROM AUTHOR]

The article views the need for integration of arts as a crucial factor for the overall aesthetic development of preschool children in the context of the synthesis between abstract painting and music. The purpose of the research is to clarify the existing direct relationship between the two types of art and their place in preschool education. Artistic perception and co-experience of abstract art are a starting point for the task of creating a non-figurative composition under the impact of a musical work. The paper includes a methodology for carrying out the specific visual form of work in preschool age and emphasizes in a systematized form the benefits of its impact that favour the development of associative thinking, creative imagination, creativity, and individuality. [ABSTRACT FROM AUTHOR]

In 1969, Lynda Benglis withdrew her large latex floor painting, Contraband, from the exhibition Anti-Illusion: Procedures/Materials. Looking beyond the logistical problems that caused Benglis to pull the work, I suggest that it challenged the conceptual and formal parameters of the exhibition from its inception. Taking hints from feminism, modernist painting, camp aesthetics, psychedelic imagery, pop, and minimalism, Benglis's latex pours unify an array of movements, styles, and political positions that have often been treated as antithetical. Although the refusal of traditional binaries was typical of the neo-avant-garde, Benglis's work was "contraband" because it challenged the inflexible dictum that feminist art and modernist painting are mortal enemies. With Contraband, she drew on abstract expressionist techniques for communicating feeling by exploiting the dialectic of spontaneity and order in Pollock's drip paintings. Simultaneously, she drew attention to gender through sexed-up colors and materials. Rather than suggesting that gender difference is repressed by abstract expressionist painting's false universalizing, Benglis shows that modernist techniques for communicating feeling are crucial for the feminist project of understanding the public significance of seemingly private experience. [ABSTRACT FROM AUTHOR]

This poster presentation at the 2023 ARLIS/NA Conference in Mexico City, Mexico describes an ongoing digital project focused on cataloging and organizing a large collection of abstract artwork created by Burton Dickerson, the presenter’s grandfather, who passed away in 2022. The poster highlights technical aspects of organizing the collection, including the decision to self-host an instance of Omeka-S, the use of metadata tags to identify consistent visual motifs across works, and approaches to managing complex items that consist of both digital and physical objects.

The research is a theoretical analysis of the relationships between minimalism in Western and Eastern design. The research purpose is to identify the influence of oriental minimalist design on the development of design in the West. The scientific value of the research is the comparative analysis of Eastern and Western minimalist design that may be of interest to teachers and students learning art, design, and architecture. The research methodology used the philosophical principles of Determinism, the Interdependence of Being and Consciousness, the Harmony of Man and Nature, the Unity of External and Internal, form and content, style and meaning. The scholars followed different methods of analysis, reviewed scientific literature, and applied the method of theoretical modeling to the research framework. The results helped to identify key characteristics, commonalities, and distinctive features of minimalist design in the East and the West. [ABSTRACT FROM AUTHOR]

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]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University 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 effects of artist's cultural identity in art appreciation are crucial in understanding discussions of cultural representation and remain understudied. In this study, we investigated the framing effect of cultural origin on artistic appraisals in 410 participants from the United States. All participants were recruited online and assigned to one of three groups which varied by artists' perceived culture of origin (American, European, or African). All stimuli consisted of equal numbers of abstract and representational artworks by African artists. The artists' name was manipulated and used as a proxy for culture of origin. For the African condition artists' original names were presented, while the other two conditions were presented with pseudonyms. Participants evaluated the artworks on the dimensions of understanding, meaning, interest, liking, and moving. Whether the participants would appraise art created by African artists higher than those created by artists perceived to be American or European, and its dependence on participant's race was investigated. Results revealed a significant effect for participants' race only in the American and African frames. Black participants reported higher levels of understanding, meaning, and liking when viewing abstract art in both American and African frames. In addition, they had higher interest only in the African frame, and higher moving only in the American frame. Black participants also had higher meaning, liking, and moving when viewing representational art only in the American frame. Our findings demonstrate that the racial or cultural identity of the artist can alter appraisals depending on the viewer's identity. [ABSTRACT FROM AUTHOR]

The Khrushchev Thaw allowed Poland a slightly larger margin of freedom in its cultural exchange with Western Europe than it had since the end of the Second World War. In this newly relaxed political climate, two models of Polish cultural diplomacy emerged in the West. The first constituted the official foreign policy of Poland's communist authorities, while the other remained unofficial, relying on a network of contacts with Poland's government-in-exile. An examination of contemporary Polish art exhibited in Paris during the 1950s and 1960s reveals this dichotomy. The first type of cultural patronage was coordinated in Paris by communist representatives of the Polish Embassy. The second emerged in Paris within Polish political émigré circles. Its key proponents were the Literary Institute (Instytut Literacki), including the intellectual and artistic milieu of the monthly journal Kultura ("Polish-based Culture") and the Lambert Gallery (Galeria Lambert). State foreign policy, funded by the state budget and anchored in agreements between Poland and France on cultural cooperation determined the former, while the latter constituted an oppositional stance against the Eastern Bloc, deriving its strength from the resolve of Polish political émigré circles, their extensive network of sympathetic foreign contacts, and an understanding of the mechanics of the art market. The communist model sought to build a friendly image of Polish culture despite the apparent ideological rift between Eastern and Western Europe. The émigré approach stemmed from a refusal to accept the political division of Europe and involved searching the world of art for evidence of forces in Poland that opposed the political status quo. Finally, the patronage model adopted by communist authorities followed the state-imposed policy of favoring figurative art over Polish abstract art, whereas the model championed by émigré circles pursued the opposite strategy. It showcased unrestrained, spontaneous, and mostly abstract art. It evidenced an affinity for international trends in the art of the time, including abstract expressionism and, in particular, Parisian Art Informel. How can these two strands of cultural diplomacy co-exist? Which resonated more with international audiences? [ABSTRACT FROM AUTHOR]

Abstract Expressionism is often regarded as the first purely American art movement and the first to gain mass cultural recognition. Prior to the 1940s, the consideration and appreciation of abstract art belonged to a certain intellectual elite, but the intimidating complexity of Abstract Expressionism, the daring allure of its artists, and the particularities of mid-century American culture converged to transform the avant-garde into consumer spectacle. This shift represented, and was symptomatic of, a larger societal rearrangement: information and commodity superseded industrialized labor as the core of American culture. Jackson Pollock, America's first avant-garde superstar, stood at the center of this shift, at once representing both active creative labor and the commodification of the idea of that labor. Hans Namuth's photographs and films of Pollock placed him and his art firmly in the realm of consumable popular spectacle, underlying further connections to Hollywood film and prominent print media. This article examines how Pollock became a paradigmatic figure in the avant-garde's proliferation into mass culture and asserts that mass culture did not simply subsume the avant-garde. Rather, the two realms engaged in a mutual construction that pushed the avant-garde across numerous social boundaries. The artistic, critical, and popular receptions that grew out of this convergence erased distinctions between 'high' and 'low' culture. [ABSTRACT FROM AUTHOR]

Copyright of Arte & Ensaio is the property of Arte & Ensaio 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.)

Generations of scientists have pursued the goal of defining beauty. While early scientists initially focused on objective criteria of beauty ('feature-based aesthetics'), philosophers and artists alike have since proposed that beauty arises from the interaction between the object and the individual who perceives it. The aesthetic theory of fluency formalizes this idea of interaction by proposing that beauty is determined by the efficiency of information processing in the perceiver's brain ('processing-based aesthetics'), and that efficient processing induces a positive aesthetic experience. The theory is supported by numerous psychological results, however, to date there is no quantitative predictive model to test it on a large scale. In this work, we propose to leverage the capacity of deep convolutional neural networks (DCNN) to model the processing of information in the brain by studying the link between beauty and neuronal sparsity, a measure of information processing efficiency. Whether analyzing pictures of faces, figurative or abstract art paintings, neuronal sparsity explains up to 28% of variance in beauty scores, and up to 47% when combined with a feature-based metric. However, we also found that sparsity is either positively or negatively correlated with beauty across the multiple layers of the DCNN. Our quantitative model stresses the importance of considering how information is processed, in addition to the content of that information, when predicting beauty, but also suggests an unexpectedly complex relationship between fluency and beauty. Author summary: Developing good predictive models of beauty requires understanding what happens in the brain when we find a person or an artwork beautiful. Recent theories in psychology emphasize the importance of considering how the brain processes features, in addition to the features themselves. Features that are efficiently processed by the brain, such as symmetry, fractality, or naturalness are generally perceived as visually attractive. In this study, we leveraged the capacity of artificial intelligence to model information processing in the human brain, to evaluate how the beauty of human faces and artistic paintings can be predicted from the efficiency of the neural code. Our results show that the efficiency of information processing can explain approximately one-third of the perception of beauty and emphasize the importance of considering how information is processed when investigating beauty. Additionally, our use of artificial intelligence demonstrates the potential of this technology to help better understand complex human behaviors. [ABSTRACT FROM AUTHOR]

Mathematics, often referred to as the universal language of science, holds a unique allure that transcends cultural and linguistic boundaries. This paper delves into the multifaceted world of mathematics, specifically focusing on the elegance and complexity of three foundational branches: Calculus, Algebra, and Geometry. These mathematical disciplines are not only critical tools for scientific and technological advancements but also fascinating in their own right. Calculus, a cornerstone of modern mathematics, provides a framework for understanding change and motion. It enables us to grasp the concept of infinity and infinitesimal, ultimately unveiling the secrets of the universe's dynamics. Algebra embodies the art of abstract manipulation, offering a systematic approach to problem-solving. Geometry explores the visually compelling properties of shapes and spaces, making the abstract tangible. The journey undertaken in this paper seeks to reveal the inherent beauty within the complexities of these three interconnected mathematical branches that continue to shape the foundations of science, technology, and engineering. [ABSTRACT FROM AUTHOR]

Teachers of abstract art and creative education are given increasingly complex and impactful tasks. However, the current arts education system does not always prepare students for these challenges. When we examine what and how the system teaches young designers, we see that the most valuable elements of a designer's perspective and process are rarely taught. Instead, some designers go beyond their education through industry experience, learning primarily by accident. Many project programs still maintain a closed perspective and an inefficient mechanism for transferring tacit knowledge. At the same time, skills in developing creative solutions to complex problems are becoming increasingly important. Organizations are starting to realize that signers bring something special to this type of work; It's a rational belief based on a wealth of research linking business success to a design-based approach. So what should we do? Other learned professions, such as medicine, law, and business, provide excellent advice and guidance embedded in their histories of professionalization. In this article, we will borrow their experience to propose an action plan for design. This won't be easy: It will require a team of researchers to make recommendations on how to compile a list of design and educational practices that schools can use to create a curriculum that suits their goals and abilities. It will require conscious effort for the design profession to become both a trusted community of practitioners and an effective expert educator who can together fully understand the value of design in the 21st century. In this article we will outline this path. [ABSTRACT FROM AUTHOR]

This article explores the concept of capitalist realism and its impact on our ability to imagine alternatives. It argues that capitalism has become so deeply ingrained in society that it is difficult to envision any other economic or political structure. The article also discusses how capitalist realism shapes cultural production, work, and education. It emphasizes the importance of reviving utopian thinking and challenging the dominance of capitalist realism in order to strive for a future that goes beyond the current dystopic reality. The article includes visual essays that illustrate the disorienting effects of capitalist realism on landscapes, identities, and historical ideals, highlighting the urgency for imaginative, utopian responses to counter prevailing narratives of crisis. The text explores the representation of capitalist realism in various forms of visual art, addressing topics such as suburbanization, inequality, poverty, industrialized agriculture, artificial lighting, informal settlements, self-representation, and colonial legacies. It emphasizes the need for nuanced and interdisciplinary engagement to address societal challenges and foster social change. [Extracted from the article]

The article is a review of the El Greco Exhibition at the Szépművészeti Múzeum in Budapest. The author discusses the significance of El Greco as an artist and compares him to other artists like Pollock. They highlight El Greco's ability to bring something new to painting during the Renaissance and his success in bridging different artistic movements. The author praises El Greco's genius and unique style, emphasizing his use of light, color, and form. They also mention the efforts made to bring together works from various collections for the exhibition. The article concludes by encouraging readers to visit the exhibition or see El Greco's works in other museums. [Extracted from the article]

В статье делается попытка периодизации раннего творчества знаменитого ленинградского абстракциониста Е.Г. Михнова-Войтенко и выделения основных особенностей его художественного языка в 1950–1960-е годы. Михнов-Войтенко является признанным, но до сих пор малоизученным художником. В основном в работах, посвященных его живописи, внимание уделяется 1970–1980-м годам, а также циклу «Тюбик» (1956–1959), тогда как ранние фигуративные работы, коллажи и графические серии 1960-х годов исследователи обходят стороной. Для характеристики произведений использованы методы формального и компаративного анализа. В статье выделяется три периода творчества художника — фигуративный, коллажный и графический. Несмотря на разнородные по характеру произведения, создаваемые художником в это время, определены черты художественного языка, присущие всему периоду в целом. К таковым относятся особая ритмическая организация каждого произведения, работа с пятном и линией, а также целостность, монументальность формы, вызванные стремлением отразить весь мир полностью в границах каждого отдельного произведения — конкреции. В заключение делается предположение о том, что данные особенности могут стать ключом к пониманию позднего творчества Михнова-Войтенко 1970–1980-х годов.

In 1969, Lynda Benglis withdrew her large latex floor painting, Contraband, from the exhibition Anti-Illusion: Procedures/Materials. Looking beyond the logistical problems that caused Benglis to pull the work, I suggest that it challenged the conceptual and formal parameters of the exhibition from its inception. Taking hints from feminism, modernist painting, camp aesthetics, psychedelic imagery, pop, and minimalism, Benglis’s latex pours unify an array of movements, styles, and political positions that have often been treated as antithetical. Although the refusal of traditional binaries was typical of the neo-avant-garde, Benglis’s work was “contraband” because it challenged the inflexible dictum that feminist art and modernist painting are mortal enemies. With Contraband, she drew on abstract expressionist techniques for communicating feeling by exploiting the dialectic of spontaneity and order in Pollock’s drip paintings. Simultaneously, she drew attention to gender through sexed-up colors and materials. Rather than suggesting that gender difference is repressed by abstract expressionist painting’s false universalizing, Benglis shows that modernist techniques for communicating feeling are crucial for the feminist project of understanding the public significance of seemingly private experience.