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Background: Transformative experiences (TEs) have been conceptualized in many ways, contexts, magnitudes, and durations, but at their heart, they entail some manner of adjustment, which contributes to changing individuals' worldviews, actions, views of others and/or their own feelings, personality, and identity. Among the many elicitors identified as being able to foster TEs, an emerging body of literature has suggested that TEs might be prevalent in aesthetics or emerged from encounters with human art. Beyond denoting ordinary moments characterizing our daily lives, art and aesthetics could occasionally represent profound changes, causing shifts in our perceptions, beliefs and understanding of the world. However, in the realm of psychological inquiry, the extent to which art and aesthetics can be considered potential catalysts for transformation remains a topic of debate. Furthermore, a comprehensive identification of the key psychological components that contribute to the process of transformation before, during, and after aesthetic engagement is still missing. Aims: This systematic review endeavors to address these gaps by synthesizing literature on aesthetic transformative experiences either from the field of psychology or explicitly delving into the psychological impact of transformative experiences within the realm of art and aesthetics. It encompasses both theoretical and empirical papers to determine key aspects and psychological components that characterize TEs. Methods: Two major electronic databases were systematically searched. The review was conducted in accordance with Liberati et al. (2009) and PRISMA guidelines. All stages of the review were conducted independently by three researchers, and the protocol was published on PROSPERO (Registration no.: CRD42022298655). Results: Although 39.440 studies were identified, only 23 peer-reviewed articles were included in this review, as most studies did not explicitly delve into the long-lasting psychological impact of art and aesthetics. Discussion: The results confirm the potential of art and aesthetics as elicitors of transformation regardless of the type of artwork and the usage context. Moreover, it also identifies some psychological components necessary for transformation in the realm of art and aesthetics, including facilitating conditions/pre-expectations, cognitive discrepancy, epiphany and insight, and several after-effects on the recipient. Conclusion: The review aids in refining and enriching the concept of transformative experience, paving the way for further research and applications in various fields, including not only psychology but also education and therapeutic interventions. Systematic review registration: https://www.crd.york.ac.uk/prospero/ , identifier CRD42022298655. [ABSTRACT FROM AUTHOR]

The relationship between art and technology in the late nineteenth century was contested but increasingly characterized by a harmonious integration that reflected a progressive and optimistic view of technological innovation. This cover essay examines an advertising poster designed by the German-Italian commercial artist Adolfo Hohenstein for a public exhibition of infants in incubators which opened in Paris in 1896. Hohenstein's poster for the Maternité Lion with its distinctive and innovative use of an art nouveau style captures the widespread enthusiasm for the new technologies and industries that characterized the art nouveau movement. The aesthetics of art nouveau expressed a broader cultural optimism about modernity and progress around the turn of the twentieth century. Hohenstein's poster exemplifies this by providing an aestheticized and exhibitory framework for introducing the incubator as a new technology specifically to appeal to women. [ABSTRACT FROM AUTHOR]

Aesthetic experiences with photographs are common in our digital society, yet there are many gaps in our scientific knowledge about how we look at, and aesthetically appreciate, photographs. Specifically, an in-depth view of these aesthetic experiences that takes into account the nuances of the photograph, as well as the emotional and meaning-making processes in the viewer, is lacking. In this project, we focus on a varied set of 58 contemporary artistic photographs (selected by expert judges) and, in two complementary studies, examine how 259 nonexperts aesthetically experience these photographs, whether contextual changes can impact their aesthetic preferences, and whether participants' preferences relate to their emotional responses and how they were making meaning of the photographs. In general, participants' aesthetic experiences varied greatly between photographs but they were robust against contextual changes (of other photographs or theme information). Emotional experience played a key role in participants' preferences, with low preferences for photographs associated with negative emotions (e.g., blood, sickness, and pollution), and high preferences for photographs associated with positive emotions (e.g., nature and a street scene reminiscent of vacation). Making meaning of (what was in) the photograph was also important, and participants' answers suggest that they did not always fully understand the photographs or integrate the photographs' nuances into a coherent whole. Results have implications for empirical aesthetics, the (art) photography practice, and how we are responding to photographs in general. [ABSTRACT FROM AUTHOR]

This paper posits participatory art as a distinct but underexplored practice of interest for human geography's contemporary work on art and aesthetics. It suggests that participatory art needs a conceptual, critical, and interdisciplinary grounding in human geography to advance the expanding relationship between participatory art practice and theory, aesthetics, and geography. Through three analytical themes – politics, publics, and space – the paper argues for an interdisciplinary approach to participatory art that draws across art theory, participatory praxis, and geography. The paper concludes around geography's suitability to critically explore the ethical and aesthetic relations created by participatory art. [ABSTRACT FROM AUTHOR]

God the Father was considered so completely inexpressible and unembodied that his visual appearance in early modern masterpieces has long challenged the theological accuracy of such works. A recent discovery complicates that issue. Albrecht Dürer's 1500 Self-portrait as Christ is incorrectly considered an isolated example of divine self-representation. It was, in fact, as shown here, part of a long tradition throughout Europe between at least the fifteenth and seventeenth centuries. The praxis, potentially sacrilegious, raises questions about the truth of art at its highest level. To address this conundrum, this article analyzes works by three eminent, but very different, artists: Michelangelo, Raphael, and Dürer. Two current methodologies—visual exegesis and the poetics of making—support the argument. The analysis reveals that there is a fundamental unity to their work, which has not been recognized on account of three popular misconceptions about the nature of art, divinity, and the mind. This article concludes that depictions of God the Father and Christ by these artists are neither heretical nor false because, as the evidence shows, all three were part of a continuous spiritual tradition embedded within their craft. [ABSTRACT FROM AUTHOR]

This essay examines Foucault's legacy in terms of its contribution to the field of somaesthetics. It demonstrates how Foucault's work on embodiment, care of the self, pleasure, sexuality, and aesthetics of existence were inspirational to the founding of somaesthetics and can serve as exemplars of somaesthetic philosophy. However, the essay also explores the ways that current somaesthetic research departs from Foucault's theories by critiquing their limitations with respect to several important issues. These issues include the varieties of pleasure, the multicultural scope and diversity of ars erotica, the range of aesthetics and art, and the demand for truth and heroism in the art of living a beautiful life. [ABSTRACT FROM AUTHOR]

This article focuses on the concept of 'failure' in relation to digital media, their development and appropriation in social contexts. In the first part, the article provides an overview of the category of failure for understanding digital media, addressing some of the most relevant contributions from several fields of study, including Science & Technology Studies (STS), History of Communication, Media Archaeology, and Post-Digital Art Aesthetics. In the second part, this sketched theoretical landscape is developed through the presentation of four 'eclectic' theses on failure in digital media, with the aim of inviting media scholars to reconsider some of the most recurrent assumptions about the development of digital media through a perspective focused on the notion of failure. [ABSTRACT FROM AUTHOR]

Copyright of Arab Journal for Scientific Publishing is the property of Research & Development of Human Recourses Center (REMAH) 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.)

Can art illuminate life or is it just so much irrelevant illusion (or delusion)? Certainly, Plato—the great founding father of Western philosophy—seems to have been largely drawn to the latter view. From Plato onwards, however, this more sceptical perspective seems bedevilled by a range of conceptual conflations and confusions regarding the language and purposes of art. Proceeding by way of critical attention to distinctions between (for example) imagination and fantasy and the artistic and the aesthetic and to the different cognitive and affective functions of literal and figurative usage, this article also draws upon diverse insights of poets and artists to argue that the ultimate purpose of the deliberate or "artificial" separation of significant art from "real" human life is nevertheless to enable deeper perception and appreciation of that life. [ABSTRACT FROM AUTHOR]

I argue that ethical features of sport strongly interact with aesthetic features of sport, such that all pro tanto ethical merits/defects count as aesthetic merits/defects. This is a much-debated topic in the philosophy of art and aesthetics literature, in which recent critics have taken to task this interactionist take on how ethical evaluative properties interact with aesthetic ones. The critics' main argument against this view is that far too many works of art than theorists of this strong interactionist kind care to admit either lack the evaluative ethical properties they claim for them, or their ethical properties do not appreciably affect their aesthetic properties. Sport, I argue, is a notable exception. That's because in sport ethical flaws in athletic performances double as aesthetic flaws with very few exceptions, or so I will argue. Unlike artworks, therefore, the interactionist thesis holds mostly true across the entire athletic spectrum, which is why, in my view, it warrants far more serious attention and appreciation than it is commonly given in both the philosophy of art and aesthetics and philosophy of sport literature. [ABSTRACT FROM AUTHOR]

We still know little about whether and how gender informs, shapes, or influences art perception. This multidisciplinary article investigates the role that gender might play in the perception of art through historical analyses and an eye-tracking experiment. We first traced how gender identity, sexual identity, and sexual orientation have been used to theorize the existence of a gender-binary difference between viewers in traditional aesthetics and feminist art theory. To test whether such claims reflect any measurable experience, we collected eye-tracking data from 84 participants and divided them into two groups of cisgender, heterosexual individuals by self-definition. Each group participated in two experiments; the first showed digital reproductions of mixed artworks, varying in subject, style, form, and size; the second showed artworks with only one figure, either explicitly showing sex-linked traits or not. In both cases, we measured the number of fixations, average fixation duration, and saccade amplitude as well as differences in the location of fixations and entropy. Our analysis did not detect any significant difference between the groups. This proves empirically, for the first time, that in spite of having been often reiterated in history, gender binary categories are not suitable for describing the visual perception of art. [ABSTRACT FROM AUTHOR]

The article studies Wim Wenders' film "Alice in den Städten" or "Alice in the Cities. Cited are the film's investigation of how the aestheticisation renders the everyday as a site of psycho-political transformation through the relational concept of alienation and de-alienation, Wenders' film aesthetic as well as the dialectical interplay of cinematic and photographic images, and the examination by Wenders of his everyday aesthetics and its psycho-political implications.

This article explores the influence of German neoclassicism, particularly the ideas of Johann Winckelmann, on the liturgical texts and reforms of the Roman Catholic Church. The neoclassical movement emphasized noble simplicity and organic development, providing a framework for understanding and appreciating the Latin liturgy. However, the movement also had limitations, such as cultural exclusivism and a tendency to idealize a specific historical period. The impact of neoclassicism can be seen in the General Instruction of the Roman Missal, but the article emphasizes the need for critical examination of the cultural and methodological assumptions underlying liturgical scholarship and renewal efforts. [Extracted from the article]

Research showed that art could improve organizations through a kind of importation of artistic skills related to creativity and uncertainty management. Three critics have emerged to contest such artistic interventions in organizations: technical criticism, highlighting practical difficulties of the process; representational criticism which relies on social representations of art; conceptual criticism, which shows unbridgeable differences between art and management. This article explores contemporary art as a potential answer to these critics. Contemporary art gives up esthetic matters and does not need any know-how: everyone can practice it (technical answer). This post-esthetic art appears rather as a professional method than transcendental inspiration (representational answer). The difficult transition between these representations contributes to a greater creativity (conceptual answer). Switching to the paradigm of contemporary art shows the importance of the translation process between art and management, which should be placed at the heart of arts-based methods. [ABSTRACT FROM AUTHOR]

The present study is the first attempt to reconstruct the philosophical foundations of Nikolay Raynov's art history conception, developed in particular in the 12 volumes of his History o f the Plastic Arts. Although his philosophical views can hardly be separated from the theosophical ones, the author makes a cautious distinction that allows to clarify Nikolay Raynov's selective reception of some of the most important philosophical views on art and art history. The proposed reconstruction aims to show, firstly, that Raynov draws inspiration from major philosophers such as Plato and the Neoplatonists, Bergson, Croce, and Solovyov, and, secondly, that their views stand in the foreground while theosophical ones form rather the general interpretative framework that is always present but not always explicitly stated. The methods of comparative hermeneutics and immanent-critical philosophical analysis are used to clarify Nikolay Raynov's ambivalent attitude toward philosophy, the nature and role of his metaphysical idealism, his interpretation of the multiple forms of realism, his conception of the seven cultural circles, and the basic philosophical components of his synthetic science of plastic arts. [ABSTRACT FROM AUTHOR]

For Michel Foucault, there exists an intrinsic relationship between ethics, aesthetics, and politics; and, in this essay, we are interested in reflecting on parrhesia as that frank discourse that allows for insolent and scandalous interrogation, through which individuals are called upon to know themselves. In this sense, the actions of escraches, carried out by H.I.J.O.S. (Children for Identity and Justice, against Forgetting and Silence) in the early 21st century in Argentina, are analyzed as the production and irruption of a parallel justice that links ethics and aesthetics in a process of subjectivation and political interrogation. [ABSTRACT FROM AUTHOR]

• Application of AI in the field of cultural heritage preservation and mediation. • Intelligent tool for an augmented audiovisual analysis of a video art archive. • Automated analysis of the archive using concepts of the poetics of video art. • The benefits of the intelligent tool are illustrated on archive of the Vasulkas. This article focuses on the development and application of intelligent software for image and sound recognition to perform iconographic and audiographic analyses of the work of video art pioneers Steina and Woody Vasulka (the Vasulkas). The AI epistemological tool Vasulka Live Archive is designed to provide unique results that benefit from the synthesis of automatic statistical analysis across the dataset and application of predefined categories that are the results of aesthetic evaluation of the Vasulkas' videos and inspired by terminology of video art aesthetics (Weibel, Krauss). The advantages of this AI tool reveal themselves particularly when the tool is used for transmedia analysis of the whole dataset (the Vasulkas' work) as the accuracy and completeness of its results are out of reach of an individual human researcher. We argue that this kind of AI tools can contribute to more exact and data-based findings on media art aesthetics, it can contribute to establishing a new field augmented iconology (Spratt) as well as expanding the sphere of AI tools application towards digital collections of experimental and conceptual art of 20th and 21st centuries. [ABSTRACT FROM AUTHOR]

How are socially and politically controversial security practices materially-technologically scripted into our lives in ever-deeper ways? This essay proposes that acts of aesthetic design are at the heart of that process and are being deployed by technology corporations to "smooth" the diffusion of security practices, discourses, and politics across global space. To substantiate that claim, we make three moves. First, we propose an understanding of the "script" that returns to the roots of the concept in theater and the arts. That understanding stresses that our material-technological enmeshing is governed strongly by aesthetic and affective factors that operate through forms of resonance (rather that reason). In consequence—we argue—much of the power of technology conglomerates is linked to their capacity to harness these aesthetico-affective resonances. Second, we demonstrate this through a case study focused on the material-aesthetic design activities of Google, teasing out how it deploys aesthetic practices to extend its sociopolitical power. Third, we speculatively conclude by introducing the architect Keller Easterling's concept of "active form" to show how conceptualizing scripts in aesthetic terms also provides insights into how security practices are diffused across global contexts, irrelevant contextual sociopolitical differences, and seemingly without any limit. [ABSTRACT FROM AUTHOR]

Nietzsche's perspective on transcending conventional values has had a profound influence on posthumanist analysis of art and aesthetics. He posited that established values, encompassing religious doctrines and ethical principles, acted as constraints that hindered individuals from realizing their full potential. Nietzsche advocated for individuals to liberate themselves from these ingrained values and formulate their own principles based on personal experiences and desires. This philosophy corresponds with posthumanist viewpoints which eschew the concept of a fixed human nature, in favor of a dynamic and evolving comprehension of humanity. Posthumanist ideologies underscore the significance of examining and embracing diverse perspectives and experiences, rather than adhering strictly to traditional values or norms. In regard to art and aesthetics, Nietzsche's notions propose that individuals should not be confined by conventional definitions or criteria of what constitutes beauty or artistic merit. Instead, they should adopt a more personal and subjective approach to interpreting art and aesthetics that reflects their unique views and experiences. Posthumanist interpretations of art and beauty are inclined to stress the importance of diversity and plurality in artistic expression, refuting the notion of a singular, objective standard of beauty. This can result in a more inclusive and openminded attitude towards art, promoting a wider range of voices and viewpoints to engage in the artistic discourse. [ABSTRACT FROM AUTHOR]

One of the most important features of Pop Art is its critical approach to idealistic aesthetics. In addition to this characteristic, one can find other characteristics in Pop Art that show the relationship between Pop Art and the philosophical school of pragmatism. Pragmatism, as a philosophical school, takes a critical approach to the philosophy of idealism. Pragmatism looks for the practical consequences of affairs and establishes evaluation criteria dependent on these results. According to the followers of this approach, a proposition is true if it can be considered valid in the context of a practical effect. In other words, the meaning of a proposition should be sought in its practical consequences. The philosophers of pragmatism, like the idealists, were not indifferent to the theory of art and beauty; John Dewey was one of the most important philosophers of this school. His book Art as Experience proposes pragmatic features in the theory of art. According to these features, pragmatism can be considered one of the trends influencing art in the second half of the 20th century. At the same time, Pop Art, as one of the important artistic currents in the second half of the 20th century, seems to have a significant relationship with the philosophical school of pragmatism. An accurate understanding of Pop Art depends on the detailed evaluation of its pragmatist characteristics. In its main purpose, the current research seeks to identify and analyze this relationship. Therefore, the questions addressed by the current research can be stated as the followings: - In addition to its critical opposition to idealist aesthetics, what pragmatic qualities does Pop Art contain, and what kinds of thought and philosophical foundations underpin this pragmatic quality? - How can the processes of ideation, topic selection, execution, and presentation in Pop works be understood in relation to the philosophical school of pragmatism? - What changes in valuation and critical judgment result when idealist aesthetics give way to a kind of public aesthetics? With these questions in mind, the necessary data have been collected through documentary methods and written sources which have been analyzed qualitatively. Based on the obtained results, we can conclude that Pop Art is influenced by the philosophy of pragmatism in addition to the critical approach to idealistic aesthetics. In addition to the theoretical foundations of the Pop movement, pragmatism also influences the process of ideation, the choice of topic and content, formal qualities, and performance of the works. In the context of the execution of the works, the use of techniques borrowed from commercial printing or what was introduced under the general title of "process abbreviation" expresses a pragmatic quality. The Pop movement influenced by pragmatism gives art a practical character and considers it a medium of communication. In addition, according to pragmatism's approach to art, Pop Art can be said to have a dialogue-oriented characteristic, so it cannot be evaluated by mere aesthetic criteria. Therefore, it can be acknowledged that in art criticism, valuation and judgment become relativistic and descriptive criticism. [ABSTRACT FROM AUTHOR]

The article aims to explore the evolution of the concept of the artist from the Renaissance to the modern era, focusing on how cultural, philosophical, and socio-economic factors have redefined the artist's role in Western society. The study examines the shift from viewing artists as artisans or servants of religion and power to recognizing them as autonomous creators embodying individualism, creativity, and genius. To achieve this, a multidisciplinary methodology was employed, integrating historical analysis, philosophical examination, and socio-cultural contextualization. The research draws on primary sources such as archival documents, artistic manifestos, and philosophical texts, alongside secondary sources including critical essays and historical analyses. The study's theoretical framework is grounded in concepts from art philosophy, socio-cultural theory, and intellectual history. The results highlight significant transformations in the artist's status and self-perception, emphasizing the impact of Enlightenment ideas on creativity and individualism, the influence of socioeconomic changes on artistic autonomy, and the evolving relationship between artists and their patrons. The article concludes that these shifts have had a profound and lasting impact on Western art philosophy and contemporary understandings of art and the artist. [ABSTRACT FROM AUTHOR]

This study started from the idea that knowledge of visual elements and aesthetics of textile arts, understanding contemporary textile techniques, is a form of reflective learning in which the practice (for example: physical actions in the fabric of the technique, touching and feeling the materials) can lead to the deepening of the creative process, contributing to the creation of an aesthetic that is not only visual, but also deeply material and even technical. This way of integrating the knowledge and values of art into fashion design in an experimental and reflexive manner can be a creative factor, therefore the analysis focused both on the idea of how fashion can be transformed through different ways of making textiles and on understanding the importance of knowing them. [ABSTRACT FROM AUTHOR]

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

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

A graphic memory ethnography of the most personally influential professor and lecture I was exposed to during my time at the UCLA Folklore & Mythology program, ending with a an example of folk art created by fellow former student and friend Denise Kozikowski followed by her final words - capturing the lesson I took away. [ABSTRACT FROM AUTHOR]

This essay examines the origins of Gerard Manley Hopkins's term "rove over" in relation to enjambment in his poetry. Hopkins's approach to prosody is not systematic and encompasses various works and casual thoughts. The term "rove over" refers to the ambiguity of reading across line breaks and may have been influenced by St. Augustine's treatise on poetics, De Musica. Augustine's synthesis of rhetoric and theology in De Musica aligns with Hopkins's hybrid thinking, and there are similarities between passages in the treatise and Hopkins's writing. The article explores the connection between the terms "rove over" and "provolutio" in the works of Gerard Manley Hopkins and Augustine, both of which describe the ambivalent function of enjambment in poetry. The author suggests that Hopkins may have derived his term from Augustine's "provolutio," as both terms share structural, semantic, and phonetic similarities. The article also discusses the influence of Augustine's theological and philosophical thinking on Hopkins's work, particularly in relation to the acceptance of contradiction. The author concludes that the terms "rove over" and "provolutio" are not merely technical terms, but are linked to broader philosophical and theological concepts. [Extracted from the article]

The purpose of the study is to explore the social and psycho-emotional influence of traditional Chinese national symbols on the contemporary wall-paintings in Chinese public art as the synthesis of aesthetics and politics expressed in fine art. The scientific and practical significance of the study lies in the description of the influence of traditional wall-painting and Western art styles on modern Chinese public art. The group of respondents consisted of 96 students and teachers from Chinese art universities. The researchers used the method of expert assessments (semi-structured interview with the use of a special questionnaire), the 'Health, Activity, Mood' method and the D. V. Liusin method for determining the level of emotional intelligence. Having analysed the study results, the researchers proved the hypothesis that the use of traditional national symbols in contemporary Chinese public art is a factor that determines the artistic, psycho-emotional and ideological impact of this art form. [ABSTRACT FROM AUTHOR]

This Special Issue of the journal Religions explores the relationship between religious education and aesthetics, specifically the connection between religion, particularly Christianity, and art. The articles in this issue discuss the complementarity of art and religion, the importance of beauty in dialogue and faith transmission, and the historical relationship between art and the Church. The authors approach the topic from various perspectives, including philosophical, theological, religious-pedagogical, catechetical, artistic, and communicational. They explore topics such as the origin of art and its relationship to God, the spirituality of artistic service, the role of images in theological knowledge, and the biblical understanding of beauty. The issue also addresses the educational aspects of beauty, the aesthetic value of religious images, the presence of art in catechesis, and the connection between music and religious education. The articles emphasize the significance of art in shaping personal, cultural, and religious identity and highlight the need for education in aesthetics and the arts. Overall, this Special Issue provides valuable insights into the relationship between philosophy, theology, religion, art, and religious education, and encourages further exploration of this topic. [Extracted from the article]

Joaquin Sorolla's Social Realist work Sad Inheritance! provides the grounds for this cross-sectional case study into Social Realism in Spain, Spanish politics at the turn of the twentieth century, and affect theory in art. By formally analyzing this work, presenting its differing receptions in France and Spain, and discussing the identity crisis that Spain experienced at the end of the twentieth century, all within the frame of Jill Bennett's conception of practical aesthetics and affect in art, this article will show how Sorolla produced an image that had differing valences of affect depending on the context in which it was viewed. Through his singular pictorial strategies, Sorolla successfully created an image that was political and sentimental, controversial and appealing, fraught with emotion, and ultimately affective. [ABSTRACT FROM AUTHOR]

Deeptha Achar's text on the rise of the woman artist in India, indicates that formulating an aesthetic of the personal is a locus for defining the practice of contemporary women artists. Apropos visual art, textual material often forms an appeal to this aesthetics of the personal. In this paper, I propose to examine this intermedial exchange in the works of Nilima Sheikh and Rajyashri Goody. Their juxtaposed incorporation of literary extracts within the textures of visuality renders insight into the aesthetic creative process driven by emotional affect. While Sheikh's medium is painting, Goody employs a range of mixed media including ceramics, photographs, cookbooks, paper pulp as well as poetic texts. Their integration of literary narratives and poetry within the visual landscape creates a 'textural' aesthetics. Sheikh's paintings and Goody's installations/print both receive from, and re-represent the literary material them within the body of their works, thereby creating an aesthetics of intermediality. Examining the "textural" aesthetics and its antecedent relation to the aesthetics of the personal raise implications of a historicization of their respective politics (Sheikh engages with narratives of Kashmir, migration/displacement, and dowry deaths, while Goody engages with caste issues). The study uses Sara Ahmed's theory of emotional affect to propose that reading the textual aesthetic, evokes a feminist method of "doing" or "re-doing". This opens further enquiries into the possibilities of intermedial exchanges within the reading of art and literature specifically concerning emotional affect and its evocative implications for feminist methods of doing and its politics. [ABSTRACT FROM AUTHOR]

This article serves as an introduction to a collection of papers that respond to Jonathan Palmer's paper on the role of creativity in psychoanalytic work. The contributors, who are known for their creative approach to psychoanalysis and art, offer their unique perspectives on the theme of creativity in psychoanalysis. They emphasize the significance of creativity, aliveness, and play in the therapeutic process, drawing on personal experiences and artistic references. The papers encourage readers to reflect on their own sources of creative expression and consider the role of creativity in their own analytic encounters. [Extracted from the article]

The article "Lux Magna. The Spectacle of Light in Architecture and Art" by Irina- Andreea Stoleriu and Oana Maria Nae explores the cultural history of light in visual arts from Late Antiquity to the dawn of modernity. The authors delve into the aesthetic and art historical significance of light, drawing on various theories and emblematic works of architecture, sculpture, and painting. The book is divided into three chapters, covering topics such as the metaphor of light in medieval thought, light and space in medieval art and architecture, and the evolution of light in Renaissance, Baroque, and Enlightenment art. The study highlights the role of light in shaping artistic representations, religious symbolism, and scientific innovations, making it a valuable resource for students, researchers, and art history enthusiasts interested in the use of light in art. [Extracted from the article]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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.)

While the cultural phenomenon known as vaporwave is commonly traced back to 2009, its defining characteristics remain a subject of ongoing debate within both popular culture and academic circles. Various perspectives categorize it as a microgenre of electronic music, a meme, an art movement, a critique of capitalism, or even a manifestation of pure aesthetics. As such, vaporwave remains a complex and multifaceted topic for research. In this paper, I explore the influence of post-internet culture on the formation of vaporwave and its aesthetics by analyzing the methods and strategies used to create what is recognized as vaporwave, rather than attempting to label or define it precisely. As a further step in this inquiry, I document an attempt to apply these methods and strategies, resulting in the publication of four music albums. This practice-based approach to analyzing vaporwave through creation and publication helps to better understand some core qualities and aesthetics of this art movement. [ABSTRACT FROM AUTHOR]

The article explores the expression of (in)voluntary silence in French humanist photography, focusing particularly on the work of Israel Biderman (Izis). The objective of this research integrates memory studies to broaden our understanding of Izis's experiences and creativity within the broader framework of humanistic photography. Drawing on key works in memory studies, which include analyses of traumatic experiences, the chosen methodology of hermeneutics of suspicion serves to problematize images and information related to the artist. This approach helps to uncover less obvious or nuanced meanings in humanistic photography that approach or extend beyond the boundaries of the image or text, highlighting its latent, inconsistent, or contradictory aspects. The study's chronological scope spans the heyday of humanistic photography globally, from the 1940s to the 1960s. This period coincided with significant cultural and social upheaval following World War II, which profoundly influenced humanistic photographers' works by often avoiding direct representations of their own traumatic experiences. To underscore the significance of silence as a mode of expression, this study develops the concepts of voluntary and involuntary silence prevalent in post-war society. For individuals grappling with traumatic experiences, the articulation of such memories could prove too agonizing, leading them to suppress them beyond the reaches of consciousness. Rather than focusing solely on the finite nature of memory, the study emphasizes the process of memory movement prompted by trauma. Accordingly, the term "silence" is preferred over "oblivion," which often features prominently in scholarly discourse of the era. In this study, the absence of representation of war traumas in photographic works from the 1940s to the 1960s is identified as involuntary silence. Conversely, the deliberate selection of aesthetic forms that romanticize contemporary existence represents an antipode to this silence. It is crucial to highlight the problematic nature of photography as a medium that breaks silence, as revealed through the negatives. The abundance of images can also mask absence or lack, particularly when viewed through the lens of narratives of traumatic experiences. The connection between involuntary silence and photography extends beyond the non-representation of war traumas - its primary characteristic - to encompass the romanticization of everyday life through certain aesthetic forms, sometimes rather banal, and chosen subjects. The voluntary silence prevalent in post-war French society, driven by a desire to reshape the past, found expression in humanist photography. Here, capturing everyday life served as a poignant contrast to the senseless war deaths and the anguish of Holocaust experiences. Photography, a medium intended to depict reality, paradoxically also became a vehicle for expressing involuntary silence. Employing the hermeneutics of suspicion, Izis's creative legacy reveals new dimensions. Specific details surrounding his works - such as titles, locations, and dates of capture - offer glimpses of involuntary silence concealed beneath the lyrical aesthetics of humanist photography. Moreover, delving into the symbolic meanings of elements within the photographs and their connection to Izis's biography unveils interpretive layers associated with involuntary silence. [ABSTRACT FROM AUTHOR]

In this text, the author analyzes the convergence between Christian culture and relevant films of Alfred Hitchcock's suspense filmography. Rather than focusing on Hitchcock's status as a Catholic director, he makes an empirical analysis that allows him to find certain visual analogies between the Christian imaginary and the frames of certain films of the master of suspense. This article understands cinema as a kind of mental, psychological, or spiritual cartography/geography, and this is how it connects to the theme of space, where cinema is not just as analogous to physical space but the experience of viewing as a space. The Christian iconography of death, understood as participation in an eternal time, helps to understand the projection of the concept of suspension of judgment in constructing suspense that is not only iconographic but also spatially ontological. The author also suggests an epistemological connection between the mysterious nature of space in medieval art and architecture and the aesthetics of perfect crime in films. The allegory of Christ's Passion will be seen as a recurring thread in Hitchcock's visual analogies. His cinema and his particular way of seeing reality through space continue to demonstrate the validity of his art in writing new episodes in Western culture. [ABSTRACT FROM AUTHOR]

The article explores the challenges of interpreting African art and conducting historical research. It emphasizes the importance of critically evaluating sources and considering multiple perspectives. The text also discusses the complexities of knowledge production and the need to include diverse voices and experiences. It encourages researchers to exercise caution and engage in careful evaluation of sources and their contexts. The article aims to foster a more inclusive and nuanced understanding of the past. [Extracted from the article]

Within the fields of aesthetics and psychology, there is a long tradition of arguing that affect precedes cognition. A verbalized thought following upon a feeling and associated with it does not translate the feeling precisely or adequately. In fact, as C. S. Peirce would argue, the thought itself projects its own affect, which is independent of its logic. The essence of affect or feeling will always elude linguistic capture. This essay argues that experiences of belief and doubt are affective sensations, and both can be graphed on a scale of sensuous intuition or cognitive guessing (which, again, projects affect). The failure of language to grasp what we refer to as instances of emotion, feeling, sensation, affect, belief, doubt, and the like is more of an intractable problem for philosophical aesthetics than it is for the aesthetics of the art experience. Examples of the art of Cy Twombly, Barnett Newman, Donald Judd, Bridget Riley, and Katharina Grosse are invoked to argue through the gap between thought and feeling. [ABSTRACT FROM AUTHOR]

The book "Doing Process Research in Organizations: Noticing Differently" edited by Barbara Simpson and Line Revsbæk explores a unique approach to empirical inquiry in organizational research. The authors argue for a different perspective on process studies, emphasizing the importance of "noticing differently" and acknowledging the entanglement of researchers in their subjects. The book draws inspiration from process-oriented philosophers and advocates for post-qualitative inquiry, which rejects formalized methodologies and aims to open up new possibilities. The chapters in the book offer thought-provoking and experimental perspectives on phenomena, incorporating artistic sensibilities, emotional experiences, and the intertwining of writing with research. While the book has some limitations, it provides valuable insights into aspects of organizing that are often overlooked in traditional research accounts. [Extracted from the article]

Drawing from Black Latinx and feminist thought to place Latinx Studies and medical/health humanities in conversation, this project asks, what are the medical and colonial histories, personal and collective, that inform patients' perceptions of illness and Western biomedicine? What happens in cases when Latinx patients have internalized historical forms of medical violence, and what are the means by which Latinx patients construct their healing through narrative? These questions are grounded in material conditions with special concerns for the well-being of Latinx patients, but they are explored via a historically and culturally informed literary analysis of Jasminne Méndez's Night-Blooming Jasmin(n)e (Night-Blooming), a personal illness narrative composed of poems and lyrical essays that portrays, among other health conditions, Méndez's life with Scleroderma, Lupus, and Raynaud's disease. Offering a close reading of Night-Blooming's biomedical critiques alongside the ecological language, metaphors, and formal structure she employs to describe her illness, the author argues that narratives such as Night-Blooming require us to travel into the colonial ecologies of illness, environmental characteristics, practices, and rhetoric in medical settings that evoke colonial encounters from within and beyond the strict boundaries of healthcare facilities. This essay also follows in the passages of Méndez's figurative travels to the island of Hispaniola as she works to recover her language, health, and Black roots. Acknowledging the ways Méndez's chronic illness and biomedicine distort her (textual) body, psychiatric health, and language becomes necessary to appreciate Méndez's composting aesthetics of illness, healing work that involves a struggle to recover that which is painful and deteriorating for life-affirming and life-sustaining purposes. I suggest that by enacting an aestheticization of illness alongside experiences of pain, Méndez uses Night-Blooming as a conduit to theorize about the potential for transforming human suffering from chronic illness into a means toward cultivating life. [ABSTRACT FROM AUTHOR]

This article aims to enhance the pedagogy of drawing by integrating relevant aspects of art history and aesthetics with perception and communication theories. Visualcy is defined as an articulacy with visual languages, from which the more familiar '3Rs' (Reading, wRiting, and aRithmetic), alluding to literacy and numeracy, evolved. It embraces not only the more familiar definition of 'visual literacy' in the sense of how people perceive, interpret, and learn from existing visual imagery, but also the semogenic facility for producing the means to understanding through the articulation of visual elements (line, shape, tone, texture, colour) in the construction of new images. After reviewing the role of drawing in cultural evolution, the article discusses drawing in relation to aesthetics, before outlining a pedagogy of drawing designed to nurture visualcy, of central importance to human culture. [ABSTRACT FROM AUTHOR]

The article examines Evelyn Waugh's novel "Vile Bodies" and its satirical critique of media influence and celebrity culture in interwar Britain. The novel portrays the shallow lifestyle of the Bright Young Things, a group of upper-class socialites, and their obsession with fame. The narrator remains detached and offers moral criticism of the characters' inability to truly love and their reliance on mass media for entertainment. The article also discusses the societal context of the interwar period, including rising unemployment rates and working-class unrest. Additionally, it explores the character Agatha and her relationship with the media, highlighting the consequences of glorifying celebrity "trainwrecks" and the loss of agency that can result. The article concludes by cautioning against the dangers of a media-dependent society and the distortion of identity that can occur. [Extracted from the article]

Mihaela Mihai's book, "Political Memory and the Aesthetics of Care: The Art of Complicity and Resistance," explores the role of art and artists in addressing systemic violence. Mihai argues that art can challenge dominant narratives and interrupt cycles of exclusion and violence. The book analyzes 18 novels and films set in France under Nazi occupation, Communist Romania, and apartheid South Africa to illustrate this argument. Mihai's work offers a complex theoretical framework and suggests new avenues for research on the intersection of art and politics. [Extracted from the article]

This document provides a list of contributors to the journal "Positions." The contributors are scholars and professors from various universities around the world, specializing in different fields such as Korean literature, history, Japanese literature, Chinese art, and global history. Each contributor has published books and articles in their respective areas of expertise, and their research interests cover a wide range of topics including gender, labor, sexuality, visual culture, and popular culture. [Extracted from the article]

This correction notice addresses errors in the original publication of an article titled "Jewish 'Ghosts': Judit Hersko and Susan Hiller and the Feminist Intersectional Art of Post-Holocaust Memory." The correction includes a revised figure legend, a corrected figure, and text corrections in the abstract and introduction sections. The article explores the intersection of Jewish identities and feminist art, focusing on the works of Judit Hersko and Susan Hiller. It examines how these artists illuminate the memory of Jewish genocide and address contemporary issues such as climate breakdown and anti-Semitism. The correction emphasizes the enduring power of feminist art in reflecting, mourning, and transforming a world marked by historical traumas and war. [Extracted from the article]

In "Subjunctive Aesthetics: Mexican Cultural Production in the Era of Climate Change," Carolyn Fornoff explores how Mexican filmmakers, visual artists, and literary authors use what she calls "subjunctive aesthetics" to imagine possibilities beyond extractivism in the face of climate change. Fornoff identifies three trends within subjunctive aesthetics: foreclosure, imagination, and entanglement, and analyzes the works of various cultural practitioners in Mexico. She acknowledges that some of these artists are funded by an extractivist economy but argues that their use of subjunctive aesthetics includes a recognition of implication and a reckoning with power structures. This book is a valuable contribution to Latin American ecocriticism and the environmental humanities. [Extracted from the article]

Predictive processing (PP) offers an intriguing approach to perception, cognition, but also to appreciation of the arts. It does this by positing both a theoretical basis—one might say a 'metaphor'—for how we engage and respond, placing emphasis on mismatches rather than fluent overlap between schema and environment. Even more, it holds the promise for translating metaphor into neurobiological bases, suggesting a means for considering mechanisms—from basic perceptions to possibly even our complex, aesthetic experiences. However, while we share the excitement of this promise, the history of empirical or psychological aesthetics is also permeated by metaphors that have progressed our understanding but which also tend to elude translation into concrete, mechanistic operationalization—a challenge that can also be made to PP. We briefly consider this difficulty of convincing implementation of PP via a brief historical outline of some developments in the psychological study of aesthetics and art in order to show how these ideas have often anticipated PP but also how they have remained at the level of rather metaphorical and difficult-to-measure concepts. Although theoretical in scope, we hope that this commentary will spur researchers to reflect on PP with the aim of translating metaphorical explanations into well-defined mechanisms in future empirical study. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'. [ABSTRACT FROM AUTHOR]