Espressioni dell'anima. Sperimentazione e immagine al Collège de France

Magda B. Arnold's theory of emotion is examined from three historical viewpoints. First, I look backward from Arnold to precursors of her theory of emotion in 19th century introspectionist psychology and in classical evolutionary psychology. I try to show that Arnold can be regarded as belonging intellectually to the cognitive tradition of emotion theorising that originated in Brentano and his students, and that she was also significantly influenced by McDougall's evolutionary view of emotion. Second, I look forward from Arnold to the influence she had on Richard S. Lazarus, the theorist who deserves the most credit for popularising the appraisal approach to emotion. Here, I try to document that Lazarus’ theory of the stress emotions preserved most assumptions of Arnold's theory. Finally, I look back at Arnold from today's perspective and address points of success of the appraisal paradigm in emotion psychology, as well as some remaining problems.

The subject of the research is the developments of the modern Ukrainian artist Evgeniya Gapchinskaya, who is now successfully working in various fields of art and design, ranging from jewelry and book graphics to monumental mural art. The purpose of the work is to investigate the specifics of the artistic language of the named artist in the context of the development of modern mass culture. The methodology of the work is based on a combination of chronological and the principle of scientific comprehensiveness, art history, design and culturological approaches, ontological, axiological, hermeneutic, historical-comparative, cross-cultural and art history analysis methods. The results of the work allow us to understand the secrets of E. Gapchinskaya's success in the field of contemporary art and design. The scope of application of the results – artistic and design practices of the present, history, theory and criticism of art, teaching activities for students and graduate students of creative specialties. Findings. It was found that the artistic language of Yevhenia Gapchinskaya was formed under the influence of Ukrainian and German artistic traditions. Taking into account the one-year internship in Nuremberg at the beginning of the formation of the artistic language, the author was inspired in her artistic searches by the impulses of the high art of the Northern Renaissance and mannerism. In particular, the work of I. Bosch and P. P. Bruegel the Elder (Peasant), whose phantasmagoric language still has a significant impact on the work of young European artists. Also, the formation of the artistic originality of Evgenia Gapchinskaya's handwriting was significantly influenced by the Dutch and Flemish art of the 17th – 18th centuries, headed by Frans Halls and Rembrandt van Rijn, and individual searches for Baroque-Rococo artists from other European countries – J. B. Greuze and T. Gainsborough. In general, the specific artistic and figurative manner of E. Gapchinskaya was influenced by the artist's appeal to related areas of knowledge – nail design, creative work with plastic, environmental design, advertising, image-making, art gallery business, restoration, art management, marketing, logistics and the like.Key words: artistic manner of creativity, Evgeniya Gapchinskaya, Ukraine, the beginning of the XXI century.

Developing a field of knowledge through bibliography: art history in the 16th century

Comment: World without Art

The development of new teaching methods is an important condition that increases the universal and professional competence of future professionals, which in turn accelerates the process of postgraduate adaptation in the professional communities of culture and art. The aim of the study is to develop methodological principles and techniques for effective teaching of art students. The article reevaluates the fundamental techniques of higher education, focusing on the role of a teacher and student in this process. As a result, we provided a theoretical summary of the experience of teaching disciplines in the field of art and culture. Based on the system-activity approach and human-personal pedagogy research, the study showed the effectiveness of the business game as an interactive method of learning in a rapidly changing socio-cultural environment. We also determined the features and basic pedagogical principles of organizing and conducting business game. The study demonstrated the strengths of business game as an imitative collective game method of active learning in work with students studying art history disciplines. A new form of business game for the disciplines of art history cycle was put forward. We argues that the acquired knowledge and skills meet the needs of professional communities in regards to the competences of young professionals in the field of culture and arts.

the #MeToo movement stimulated art history to reflect on its academic existence and role within society. How will the researchers of art history or art history itself respond to the #MeToo Movement? Is it still possible for art history to continue its role as a traditional art history, while acquiescing sexual violence and sexual discrimination within the academic field or in the art world?BR Therefore, this article started from clarifying the meaning of the ‘#Sexual Violence_in_Art World’ movement in the extension of the Feminism Reboot in Korea. The objectification of ‘young women’ in the art world means that they are exposed to the sexual harassment or sexual violence, which threatens not only the survival of women but also the survival of artists. The unequal power relationship in the art world reveals itself in the form of sexual violence. It means that this power itself is ‘gendering power,’ and the condition that makes it possible is a long-structured man bonding in the art world. In such a structural situation, the academic field of art history has also marginalized feminist approaches. Even more, historical evaluation of feminist art has been established in a way that distinguishes ‘activist’ feminist art from ‘cultural’ feminist art and that the historical evaluation of the latter alienates the former. In the field of art history that has marginalized historical feminist activism, it is difficult to establish a place for current feminist activism such as ‘#Sexual Violence_in_Art World’ movement.BR For this reason, the feminist activist approach to art history by Linda Nochlin, which defined art history as a kind of dominant structure and as a supplement to the social movement of women, is summoned more powerfully in the #MeToo era. Nochlin, who did not insist on art history as an independent academic system, but positioned it in a wide range of feminist movements and encouraged active solidarity with the field of art, set the duty of feminist art history as changing the present. Therefore, reflection on the existence of art history in the #MeToo era will require to relocate art history in the practical dimension that change society.

This paper considers the past, present, and future of East Asian art studies in the United States. Given limitations of space, it focuses on the 1980s and 1990s as representative of a previous generation of scholarship. Prominent scholars of Asian art in that period had relatively recently emerged from second class citizenship in the discipline of art history, only to face the challenges of what came to be known as “new art history.” The theoretical upheavals pitted “connoisseurs” against “theorists” in a starkly divided field, and specialists in East Asian art were continually drawn into the fray. Furthermore, many scholars of East Asia art writing in English at the time were only beginning to emerge from under the shadows of their counterparts in Japan, whose positivistic scholarship had previously dominated methods, terms, and subjects of the subfield. The period also saw the beginning of the serious study of modern and contemporary East Asian art. While many of the teachers of Asian art at this time had been trained by Europeanists, most of the Asian modernists had been trained by premodernists. These forces, and many towering egos, created a very dynamic but fragmented community that was, in general, largely ignored by other art historians. The early 21st century has seen seismic shifts in the field of art history, especially in East Asian art. Art history in general has become much less narrowly focused on Euro-American material, interdisciplinarity and the “social history of art” has become commonplace, and the theoretical imperative and polarization felt by earlier scholars has notably softened. Added to this, many of the towering figures of the previous generation of East Asianists have either retired or passed away, making way for a vibrant new generation of younger scholars who feel more at home engaging with their colleagues in the field, both Asianists and specialists focused on other regions. In addition, the geopolitical factors that shaped East Asian art history of the past, such as China’s Cultural Revolution or Japan’s “Bubble Economy,” have been supplanted by a new reality, in which scholarship and the market play a complex role in reflecting and shaping the cultural politics of the region. Among these cultural competitors, Korea has emerged as a powerful presence in the history of East Asian art, even though it clings to a precarious hold in the North American academy. If the present generation of scholars is any indication, the future holds great promise for East Asian art history in the United States. However, I see two main ways that the current academic establishment as well as the rising generation can begin to lead the rest of art history. First, we should reconsider what “interdisciplinarity” means today. Shaping a “new new art history” requires making amends with our “estranged sister” disciplines, such as (visual) anthropology, archaeology, calligraphy history, and even studio practice. These various scholarly groups tend not to paper to each other very much, but I think East Asianists, given their topics and temperaments and increasing prominence in art history departments, are particularly well suited to doing so. Secondly, I believe that the time has come for art history to present a model for the world that pointedly moves away from its roots in the formation of modern nation-state identities towards scholarship that recognizes the complex networks of cultural production and dissemination that were the historical reality throughout the region. As has clearly happened in the field of modern and contemporary art, premodern art historians would benefit greatly from not limiting themselves to narrow, nation-based frames for their research. East Asia is rife with examples of fluid spaces of cultural exchange, the nuanced study of which could present a new vision of what art history and the humanities in general could be. This understanding of the achievements of East Asian art in the past and the vision for its future is predicated on collaboration. For most of us, this ideal is only achievable by relying on cooperation between specialists who are fully grounded in their historical material yet practiced at communicating with scholars in other sub-fields and academic disciplines. That includes East Asianists papering to their colleagues based in other countries, to specialists in other art historical traditions, and to scholars far beyond the confines of the field as it is narrowly conceived.

Media Primitivism: Technological Art in Africa By Delinda Collier

“Kunstiajalugu on ju siinses ülikoolis uus distsipliin.” Tartu ülikooli kunstiajaloo kabineti rajamine

Art has been produced in South Asia for approximately forty-five hundred years. Art history, however, is much more recent in South Asia. Although some historians consider various texts dating as early as the 3rd century ce to be art history and others have gleaned the writings of early travelers to South Asia for information on art, the earliest histories of South Asian art begin in fact during the colonial period. That is both because art history is intrinsically a European field of knowledge and because colonial authorities understood knowledge about South Asia, including its past, as a tool for power. The work was done largely by amateurs, self-trained British who had come to India as part of the colonial enterprise. Historical studies of South Asian art do not really begin until the early 1900s, and the earliest surveys date back to 1927. About the same time, Ludwig Bachhofer, a protégé of Heinrich Wolfflin, published his study of early Indian sculpture. Both did much to move the study of South Asian art from its roots in archaeology and textual studies to art history as it was then conceived. Whereas Ananda Kentish Coomaraswamy, the pioneering historian and philosopher of Indian art, did not teach and thus produce students, Bachhofer did, although more of his students went on to gain expertise in Chinese art than in South Asian art. The earliest full-time South Asia specialists in the United States, those working largely after World War II, came from other fields of art history, for example, medieval art in the case of Benjamin Rowland and Chinese art in the case of J. Leroy Davidson, and Stella Kramrisch, who had trained with Josef Strzygowski, the Polish Austrian art historian, came to the University of Pennsylvania. Their work, though quite different from one another, did much to shape the study of South Asian art in the United States and Europe. In South Asia the study of art remained heavily descriptive and often linked to studies in epigraphy and ancient history. On the Continent much of the work came from scholars who had been part of the colonial project either in India or in Southeast Asia. For example, Philippe Stern, who initially wrote on the art of Southeast Asia, trained a number of outstanding scholars during his years at the Musée Guimet, often following a close motif analysis. And Jean Philippe Vogel, though Belgian, had worked for the British in India. South Asian scholars who wrote on the monuments of the region were most often affiliated with museums or with the Archaeological Survey of India. As literature in the field of South Asian art history expanded, scholars began to stake out areas of specialization, sometimes following the model of European art history, that is, limiting specialization by geography and chronology. But three particular areas of writing on South Asian art developed rather distinctive scholarship. First, painting specialists tended toward connoisseurship as they sought to sort out the vast number of paintings in diverse collections and to create taxonomies for the understanding of painting production. Their scholarship was often presented in museum exhibitions, creating a rich repertoire of very important catalogues. Second, specialists in South Asia’s Islamic heritage sometimes had been trained in the field of Islamic art and so came to the study of South Asia as Islamicists rather than as South Asia specialists. Finally, the contemporary scene, once seen as derivative of European modern and contemporary art, has attracted some outstanding scholarship. In fact much of the very best work on South Asian art now focuses on the period from the arrival of the British and other colonizers to the early 21st century.

Event Abstract Back to Event Dynamics of decision-related activity in prospective hippocampal place cells Sidney I. Wiener1* 1 CNRS - College de France, Laboratory of Physiology of Perception and Action, France The hippocampus is involved in spatial navigation and contextual memory. Hippocampal principal cells fire when a rat is in a specific place in its environment and this “place cell” activity can be prospectively modulated by the rat’s imminent trajectory. To examine whether there is a link between prospective coding and navigational decision processing, we recorded place cells in rats performing a task involving a sudden decisional switch and assessed the latency of the prospective activity onset. Rats learned to alternate (ALT) in a continuous T-maze task. Every 5 to 7 trials, a visual cue (VC) was presented as the rat crossed a photodetector at the middle of the central arm. This instructed the rat to repeat a visit to the previous arm rather than to continue alternating. This permitted measurement of the delay required for place cell responses to started to change in accordance with the changed intention of the animal. We recorded 866 cells in 4 rats in 26 sessions and measured prospective activity onset in the VC and ALT trials employing a bootstrap method. In all prospective 19 neurons activity never appeared earlier in cued trials than in alternation trials. A linear regression (t-test for slope p=0.0128) of the onset times of activity in ALT trials plotted as a function of the time difference between the activity onsets of VC and ALT trials yielded a value of T~420 ms. This relatively long delay for prospective activity to arise (compared to on the order of 100-150 ms in other brain areas) indicates that the navigational behavioral choice signal is likely elaborated elsewhere before reaching the hippocampus, perhaps in pathways involving cortico-striatal loops and are then transmitted to the hippocampus for prospective activity. The hippocampus would then engage this for contextual processing of memories in time and space. Keywords: Decision Making, Anticipation, Genetic, planning, Learning, Memory Conference: 4th Conference of the Mediterrarnean Neuroscience Society, Istanbul, Turkey, 30 Sep - 3 Oct, 2012. Presentation Type: Poster Presentation Topic: Abstracts Citation: Wiener SI (2013). Dynamics of decision-related activity in prospective hippocampal place cells. Conference Abstract: 4th Conference of the Mediterrarnean Neuroscience Society. doi: 10.3389/conf.fnhum.2013.210.00071 Copyright: The abstracts in this collection have not been subject to any Frontiers peer review or checks, and are not endorsed by Frontiers. They are made available through the Frontiers publishing platform as a service to conference organizers and presenters. The copyright in the individual abstracts is owned by the author of each abstract or his/her employer unless otherwise stated. Each abstract, as well as the collection of abstracts, are published under a Creative Commons CC-BY 4.0 (attribution) licence (https://creativecommons.org/licenses/by/4.0/) and may thus be reproduced, translated, adapted and be the subject of derivative works provided the authors and Frontiers are attributed. For Frontiers’ terms and conditions please see https://www.frontiersin.org/legal/terms-and-conditions. Received: 25 Mar 2013; Published Online: 11 Apr 2013. * Correspondence: Dr. Sidney I Wiener, CNRS - College de France, Laboratory of Physiology of Perception and Action, Paris, 75005, France, sidney.wiener@college-de-france.fr Login Required This action requires you to be registered with Frontiers and logged in. To register or login click here. Abstract Info Abstract The Authors in Frontiers Sidney I Wiener Google Sidney I Wiener Google Scholar Sidney I Wiener PubMed Sidney I Wiener Related Article in Frontiers Google Scholar PubMed Abstract Close Back to top Javascript is disabled. Please enable Javascript in your browser settings in order to see all the content on this page.

The article substantiates that in the theory of forensic science the concept of “special knowledge” has a broad and narrow meaning. The expediency of using this term in a narrow sense is determined by the context of its use (for example, in terms of a specific specialisation or a group of criminal offences combined on the basis of certain criminal law and/or forensically significant features). It is found that in the course of investigation of criminal offences related to smuggling, the most common is the use of specialised knowledge in the field of science, technology and art. It is determined that the forms of expert participation in the smuggling investigation cover several procedurally regulated areas of interaction with pre-trial investigation authorities and the court. They involve the use of specialised knowledge with a view to clarifying the circumstances relevant to criminal proceedings and can be implemented both in the form of an expert examination and by engaging a specialist to provide technical advice or practical assistance, but under such conditions, a forensic expert acquires the procedural status of a specialist. It is established that, for the most part, all examinations appointed during the investigation of criminal offences related to smuggling are mandatory, since it is impossible to solve tactical tasks in any other way, since this is within the competence of knowledgeable persons. The most typical examinations include commodity, weapons, explosives, biological and trace evidence, art history, etc. It is noted that the structure of special knowledge and practical skills of knowledgeable persons involved in the investigation of criminal offences related to smuggling is dominated by knowledge in the fields of biology, weapons science, explosives, materials science, art, natural sciences (mainly chemistry and physics), etc. It is recommended that the special knowledge used in the investigation of criminal offences related to smuggling should be understood as scientific and technical knowledge, as well as knowledge in the field of art, which is a prerequisite for solving tactical tasks of investigation and trial which are beyond the professional competence of the parties to criminal proceedings and the court.

The main trends of the Russian classical studies which developed and gained its international recognition in the early 20th century. They are presented by the works of Vasilii Latyshev, Vladislav Buzeskul, Mikhail Rostovtsev, and Thaddeus Zielinski. These were historical-philological and cultural-historical studies, as well as those of social history. History of the art of antiquity represented by the names of Oscar Waldhauer, Vladimir Malmberg, Boris Farmakovsky, and Mikhail Rostovtsev evolved from description of iconography to the research of historical and artistic problems. Russia, following European countries, demonstrated gradual separation of the history of ancient art as an independent discipline from archaeology, philology, and history. A good example of this process is the research of antique portraiture. This topic became one of the key ones for Oscar Waldhauer. A student of Adolf Furtwängler and Ludwig Curtius, the representatives of German school in the late 19th and early 20th centuries, the Hermitage scholar created his sculpture catalogue based on the method of “Kopienkritik”. This method, which up to now underlies the attribution of monuments, was substantially supplemented with his studies. Logic of the research led Waldhauer to Heinrich Wölfflin’s thesis about “the history of art without names”. In the essays on the history of portrait, Waldhauer was guided by the concept that the history of art presents the history of spirit, as well as the concept of “Kunstwollen”. It was adopted by him from the works of Franz Wickoff and Alois Riegl, art historians of the Vienna School. In Waldhauer’s understanding, portrait style is an expression of “spirit of the times”. While in Germany Ludwig Curtius and Hans Delbrück adhered to a physiognomic interpretation, those who followed the Vienna school came to a conclusion that portrait had never imitated the appearance of a model. The evolution of portrait is a subject to its own laws, autonomous from social development. Another significant contribution to the study of ancient portrait, undertaken in this period was Mikhail Rostovtsev’s work, dedicated to the bust of the Bosporan Queen Dynamis. M. Rostovtsev compared attributes and symbolic signs that cover the bust with the iconography of statues of Iranian gods and rulers originating from the Nemrud Dag mound. Identification of the monument was carried out thanks to its historical interpretation. M. Rostovtsev’s discovery of the dual nature of the Bosporan monarchy, which was a symbiosis of Greek and Iranian elements, is a brilliant analysis of various historical materials that laid grounds to defining the personage. General interest in the portraiture characteristic of historiography at the beginning of the 20th century, rethinking of concepts and the search for new methods lead to several discoveries. Later, Russian historiography followed a different autonomous path. While for Western European and Anglo-American science the 20th century became the “century of portraiture”, Soviet art history returned to this topic many years later, only in 1970–1980s.

Relevance. The relevance of the study is due to the need to supplement the course �History of Fine Arts of Kazakhstan� and thereby improve the quality of professional education of Kazakh students.Purpose. The purpose of this study was to cover the significance of the course of the history of arts of Kazakhstan in the educational process of students of professional and creative faculties.Methodology. The leading method of studying this problem was the classification method, which helped single out and systematize various areas and periods in the history of the arts of Kazakhstan. The following methods were also applied: iconographic method, system analysis method, logical analysis method, synthesis method, comparative method, deduction.Results. The paper presents the results of a study of the history of art in Kazakhstan, including an analysis of various artistic trends, key periods, and creative personalities. The paper presents the major features of the ancient culture of Kazakhstan, reveals the characteristics of traditional patterns, their symbolism, and meaning. The art of the Kazakh carpet was analysed, the main techniques for making carpets and their characteristics were identified. The study examined the role of the fine arts, jewellery art, and dance arts of Kazakhstan and presented their main characteristics and directions. It was concluded that knowledge of the history of art in Kazakhstan is a necessary component of student education, as it offers a more profound understanding of the history of the country and its cultural heritage.Conclusions. The materials of the study are of practical value, since they provide an opportunity to better understand the cultural heritage of Kazakhstan, and the use of these materials to develop new training and advanced training programs for specialists in the field of culture and art will contribute to the preservation and promotion of the unique traditions of Kazakh art in the world.

PUBLIC 46: Prime Mover is a selection of five essays corresponding to five hypothetical exhibitions of works from an influential private collection with which Eamon was professionally involved for more than ten years. The collection, one of the first in private hands to focus almost exclusively on time-based media, has been the subject of a number of graduate theses and museum catalogues, but this publication aims to bolster these efforts towards better understanding of a collection that has altered the field of media art. In a sense, these essays constitute a history of moving-image art starting from around 1900 that is meant to be a resource for students of film and video art, on the one hand, and for scholars investigating the history of collections on the other. Although the five exhibitions imagined here evolved separately, they can be read as chapters of a continuous story, or, alternatively, they can be read as different lenses through which one can look at the history of media art itself, as a necessarily fragmentary history. The different formats and different approaches in this publication all come from the curator’s toolbox, where one is able to place works of art in a variety of contexts, grouping them in ways that both illuminate the works and, hopefully, the history of art as well.