Recipients Of Art Research Articles

Psychological features of perception of artworks by people with different types of functional brain asymmetry

The relevance of the study is conditioned by the increased attention of modern psychology to individual personality traits and its decreased focus on the normativity of an individual. In the process of individual development, the contemplation of art allows a person not only to broaden their own worldview, but also contributes to cultural enrichment. The purpose of the study was an empirical investigation of the features of perception of works of art by persons with different types of functional brain asymmetry. The study was conducted using the method of standardised interviews with the subjects of two groups: the main group – people who do not have professional knowledge of art (N = 43), and the control group – students studying art history and fine arts as professional disciplines, and familiar with the rules for constructing composition in a picture (N = 30). The results were analysed using statistical criteria: the Kolmogorov-Smirnov test and the Fisher angular transformation criterion φ*. As a result of the empirical study, there were no statistically reliable patterns in the perception of works of art in the general group, but significant differences were found in the features of perception of movement and its speed in works of art by persons with different types of functional/interhemispheric brain asymmetry, which indicates a nonlinear nature of perception, and the influence of cognitive phenotypes on the perception of works of art. The perception of artworks is an individual cognitive process that may differ between the author and the recipient of artistic creativity, and the author’s intention may be misunderstood by the audience if the features of individual perception of a work of art, and the laterality of the personality, are not considered. The practical significance of the study lies in the possibility of applying its results in the process of professional training of students of art specialities, considering the specific features of the laterality of art recipients

Ontology of the Art Phenomenon in Iris Murdoch’s Fiction

This article explores the intermedial dialogue of the arts in the oeuvre of British writer and philosopher Iris Murdoch. The ontology of the phenomenon of art and its functional meaning in Murdoch’s fiction, the specifics of the relationship between the arts in her philosophical essays and dialogues are considered from the perspective of intermediality. Based on the intermedial study methodology, Murdoch’s theoretical and philosophical views on the multifunctional nature of art, the interaction of the artist and the artwork are revealed. Key techniques of interartistic discourse, including anthroponymic allusions, are considered as intermedial markers of Murdoch’s texts, identified and explored at the level of imagological transformations. People of art: artists, artistic discourse partakers, as well as recipients of art constitute a particular kind of characters in Murdoch’s novels. Accordingly, the importance of the recipient, who acts as an essential link in the receptive matrix of “author-text-recipient-artwork,” is emphasized in the ontology of an artwork. The particular meeting point of Murdoch’s characters is the artistic topos: a museum, an exhibition, an art gallery or an artist’s house. In addition, the reader of her fiction repeatedly encounters various ekphrastic codes: the ekphrases of paintings are not only present in Murdoch’s texts, but function as anthropomorphised characters, dramatis personae, have their own space (physical and mental places) and play a crucial role in the protagonists’ lives. Consequently, we find that the use of intermedial components is one of the markers of Iris Murdoch’s idiostyle, which topicalizes important aspects of the philosophy of art and brings it into the realm of ontological questions.

Correlation of Interleukin-21 Levels With Clinical and Laboratory Parameters in ART Recipients

Background: Interleukin-21 (IL-21) is a relatively new immune-enhancing, multifunctional and pleiotropic cytokine that plays an essential role in controlling chronic viral infections. It is a protein that in humans is encoded by IL-21 gene, mapped on chromosome 4 and 180 kb from IL-2 gene and the mRNA encoding the product is 616 nucleotides long. IL-21 is expressed in activated human CD4+ T cells but not in most other tissues. In addition, IL-21 expression is up-regulated by Th2 and Th17 subsets of T helper cells, as well as T follicular cells. Further IL-21 is expressed in NKT cells regulating the functions of these cells. IL-21 may be a critical factor in the control of persistent viral infections such as HIV. Present study aims to explore the levels of IL-21 in a select segment of ART recipients of East Delhi covered by NACP, Govt. of India.
 Methods: Estimation of levels of IL-21 was done using ELISA test employing commercially available kit (QAYEE-BIO Kit for Interleukin-21). The method of ELISA used for the present study was sandwich ELISA.
 Results: The mean levels of IL-21 in the study of 40 ART recipients were 1178.21±927.063. There were no controls included in the study. The range of IL-21 were 150-6100. In one patient IL-21 levels was not detected.
 Conclusion: This study attempts a clinical correlation with the levels of a cytokine with clinical and laboratory parameters which could help in a better understanding of the immunobiology of the disease. In the current study, the levels of IL-21 in samples of ART recipients were detected. A significant positive clinical correlation was seen between the levels of IL-21 and CD4 cell counts. IL-21 levels were high in those patients whose CD4 cell count was raised. There was a positive correlation between CD4 cell count and CRP. Therefore, further studies with a higher sample size may be required to arrive at a statistically significant correlation

Philanthropy in art: locality, donor retention, and prestige

A significant portion of funding for art comes from foundations, representing a key revenue stream for most art organizations. Little is known, however, about the quantitative patterns that govern art funding, limiting the fundraising efficiency of organizations in need of resources, as well as optimal funding allocation of donors. To address these shortcomings, here we relied on the IRS e-file dataset to identify $36B in grants from 46,643 foundations to 48,766 art recipients between 2010 and 2019, allowing us to quantify donor-recipient relationships in art. We find that philanthropic giving is broadly distributed, following a stable power-law distribution, indicating that some funders give considerably and predictably more than others. Giving is highly localized, with 60% of grants and funds going to recipients in the donor’s state. Furthermore, donors often support multiple local organizations that offer distinct artforms, rather than advancing a particular subarea within art. Donor retention is strong, with nearly 70% of relationships continuing the next year. Finally, we explored the role of institutional prestige in foundation giving, finding that funding does correlate with prestige, with notable exceptions. Our results present the largest and most comprehensive data-driven exploration of giving by foundations to art to date, unveiling multiple insights that could benefit both donors and recipients.

Creators Matter. Perception and Pricing of Art Made by Human, Cyborgs and Humanoid Robots

Not only does the art market include human and nonhuman creators, it also incorporates technologically augmented artists, called cyborgs. They use wearables, sensors, chips, and even new organs to process various stimuli, such as electromagnetic radiation, atmospheric pressure, or ultraviolet rays, to produce artworks. Little is known however, how the objects produced by them are perceived by the art recipients. This paper applies an experimental study with 373 non-experts in the field of art. The results show that the perceived value of the painting depends on the type of agent and on the context of the evaluation. The price of objects created by a human artist is significantly higher if the context cue is the price of the canvas made by humanoid robot than another human. People value cyborg's artwork similarly to human-generated artwork when contextual cue is human, and similarly to robot-generated artwork when contextual cue is humanoid robot.

A child in the world of sounds: educational aspects of Émile Jaques-Dalcroze's Eurhythmics method

The article presents educational aspects of Emile Jaques-Dalcroze's Eurhythmics method, a commonly used method of musical education in Poland. The aim of the article is to show the potential of the impact of eurhythmics activities on the emotional, social, physical and intellectual development of a child. Thus, the article presents the essential values of music education of the young generation, the aim of which is not only to educate conscious recipients of music and art, but also sensitive and open-minded, creative people with broad social competences. The subject of the considerations was also the role of the teacher in the Eurhythmics method, his/her methodological workshop and the ability to use the language of music to improve communication with students. The considerations are the result of an analysis of Emile Jaques-Dalcroze's works as well as the published theoretical works and research on the use of the Eurhythmics method.

Around Art Reception. A Model of Empirical Cognition of Early School Education Teachers’Attitudes to Modern Art - A Project Study

The paper results from considerations on art reception and reflection on the current position of art recipients, their dispositions, and behaviours towards modern artistic activity, including the emotional, cognitive and behavioural orientation of early school education teachers in modern art. It begins with reflections on modern art understood as artistic activity created based on various means of expression and avant-garde and neo-avant-garde artistic solutions, which reacts to the huge potential, possibilities, threats of the surrounding world, and the situation of the recipient of modern artistic activity. The study’s further part presents the basic findings on the theoretical and conceptual framework of the phenomenon and a model of empirical cognition of early school education teachers’attitudes towards modern art. The study is addressed to researchers of the subject area and pedagogues. Even though it can hardly be regarded as a handy compendium, it provides a theoretical base and a research perspective. Therefore, it can serve as a guideline for future research explorations.

Detection and Study of Interleukin -21 Levels in Art Recipients

Background: Interleukin-21 (IL-21) is a relatively new immune-enhancing, multifunctional and pleiotropic cytokine that plays an essential role in controlling chronic viral infections. It is a protein that in humans is encoded by IL-21 gene, mapped on chromosome 4 and 180 kb from IL-2 gene and the mRNA encoding the product is 616 nucleotides long. IL-21 is expressed in activated human CD4+ T cells but not in most other tissues. In addition, IL-21 expression is up-regulated by Th2 and Th17 subsets of T helper cells, as well as T follicular cells. Further IL-21 is expressed in NKT cells regulating the functions of these cells. IL-21 may be a critical factor in the control of persistent viral infections such as HIV. The intrinsic ability of IL-21 to promote the longevity of B cells should benchmark its role in sustained production of neutralizing antibodies by proliferating and differentiating B cells committed to cognate stimulating antigenic determinants. Nonetheless, immune response to identical or related antigenic insults are quite heterogeneous enlisting complex factors including ethnic and HLA elements in determining the final outcome. Present study aims to explore the levels of IL-21 in a select segment of ART recipients of East Delhi covered by NACP, Govt. of India. Methods: Estimation of levels of IL-21 was done using ELISA test employing commercially available kit (QAYEE-BIO Kit for Interleukin-21). The method of ELISA used for the present study was sandwich ELISA. Results: The mean levels of IL-21 in the study of 40 ART recipients were 1178.21±927.063. There were no controls included in the study. The range of IL-21 were 150-6100. In one patient IL-21 levels was not detected. Conclusion: This study attempts a clinical correlation with the levels of a cytokine which could help in a better understanding of the immunobiology of the disease. In the current study, the levels of IL-21 in samples of ART recipients were detected. In all ART patients the levels of Interleukin-21 were detected except one. Majority of patients showed moderate levels of IL-21. But 3 patients showed high levels of IL-21 >2000 pg/ml who were not associated with opportunistic infections after 10 to 12 months of ART treatment. Therefore, further studies with a higher sample size may be required to arrive at a statistically significant correlation.

Research on the cross boundary Integration of Scientific & Technological Innovation and Artistic Creation

The art and technology have a natural relationship, it can be said that the history of art is also the history of science and technology. The development of science and technology has expanded the space for the development of art and formed a new interactive relationship between art recipients and art creators. Therefore, in the future social development, the interaction and combination of art and technology will give both sides infinite vitality.

Творческая активность личности и студентоцентрированное обучение

Creative artistic activity is one of the most efficient means of an in-depth development of personality, however at the present time one may observe a deficit of creative manifestation of human beings. The current situation may be corrected by means of incorporation of relevant and effective methods of creative development. One of the most important of their types is the educational milieu. It is particularly in the conditions of an educational institution that the development of the majority of people – the recipients of art – take place. The issue of a creative attitude towards reality has been one of those discussed at one of the leading European forums. One of the sought-after conceptions, in particular, is that of student-centered education, directed towards an active development of the feeling of selfsufficiency and a reflexive method of the process of learning. Also appropriate for solving the declared problem is the concept of implicating the students through the principle of co-creation, where the accent is placed not on its formal realization, but on a genuine involvement in the co-creative educational process. The given criteria correspond to the positions of a personally-oriented approach, in which most important are the active-creative method and the principle of congruity with nature. Their actualization plays a decisive role in the process of harmonic development of personality. The author of the article directs her attention towards the creative system of Boleslav Yavorsky, who made a substantial contribution towards the development of musical culture and education in Russia. The actualization of the educational principles of Yavorsky in new sociocultural conditions presents the possibility of passing to the next stage of the creative development of personality. Keywords: creative energies, musical activity, development in congruity with nature, self-development, studentcentered education, personality-oriented approach.

Progress of UNAIDS 90-90-90 targets in a district in KwaZulu-Natal, South Africa, with high HIV burden, in the HIPSS study: a household-based complex multilevel community survey

With the goal of eliminating new HIV infections, UNAIDS set the ambitious 90-90-90 targets to be achieved by 2020. We assessed whether these targets are being met among participants of the HIV Incidence Provincial Surveillance System (HIPSS) in a high-burden district of South Africa. We used data from a HIPSS household-based, cross-sectional survey of HIV prevalence and incidence done in the uMgungundlovu district, KwaZulu-Natal, in 2014 and 2015. In randomly selected enumeration areas, 50 households were drawn systematically along a serpentine pattern from a random start point. One eligible individual in each household was asked to provide blood for HIV testing and to complete a questionnaire. If a household refused to participate, the house next to it was approached. Eligible participants were aged 15-49 years, lived in the household, were not planning to move away, and spoke English or Zulu. Viral load was measured in samples positive for HIV. We also assessed participants' HIV linkage to care and treatment. Data were population weighted to allow for multilevel sampling and non-response. 9812 participants were enrolled, 3547 men (36%) and 6265 women (64%). Overall, 504 of 1014 men (estimate 52%, 95% CI 47-56) and 1833 of 2955 women (65%, 62-67) who were HIV positive knew their HIV status. Of those who knew, 344 of 522 men (69%, 63-75) and 1254 of 1845 women (70%, 68-73) were taking ART. Among recipients of ART, 294 of 341 men (85%, 80-90) and 1117 of 1249 women (90%, 87-92) had viral loads less than 1000 copies per mL. Among all HIV-positive participants, 427 of 1014 men (44%, 39-49) and 1680 of 2955 women (58%, 55-61) had viral loads lower than 1000 copies per mL. No UNAIDS 90-90-90 targets had been met in our study population. Major campaigns are needed to increase HIV testing, especially among men, and to ensure all HIV-positive patients are taking ART. Centers for Disease Control and Prevention and the US Presidents Emergency Plan for AIDS Relief (PEPFAR).

The Distancing-Embracing model of the enjoyment of negative emotions in art reception

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positive and negative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories.

Having her hand in it? Elite women as ‘makers’ of textile art in the Middle Ages

ABSTRACTIn the Middle Ages, elite women acted as creators, donors and recipients of textile art. This article analyses a small but representative group of seventh- to thirteenth-century embroideries in order to examine the motivation for their creation and to investigate the ways in which women could mark their own presence through textile art. It discusses written sources alongside the material evidence; these sources include documentary, hagiographical and literary texts, which provide information about cultural norms and the expectations of society. Set within the context of these sources, the evidence suggests that society both channelled women's creativity into textile art and idealised it. At the same time, as artists and patrons of ornamented textiles, noblewomen had creative control over the medium; embroidery became a field in which their works were noted and celebrated.

Weber on Music: Approaching Music as a Dynamic Domain of Action and Experience

Max Weber’s music writings (including his unfinished ‘Music Study’) have always mesmerized readers but their importance for analysing music as a cultural domain has only started to be acknowledged. This paper focuses on Weber’s approach to the inner ‘developmental momentum’ of the music domain through his study of the particular tension that pervaded Western harmonic music. By showing how composers, performers, instrument manufacturers, art recipients and the instruments themselves had to grapple with such tension, Weber was able to give an account of the inward connection to an art sphere and its structuring effects, whilst also bringing social, economic and technological factors to bear. In the current debate on the desirable ways for a renewed sociology of culture to develop, Weber’s music writings present us with a path at once precarious and bold, an account of inner connections and outer relations, which, against Weber himself, also provides bases for aesthetic judgement.

Hypocalcaemia, alcohol drinking and viroimmune responses in ART recipients

Metabolic perturbations associated with HIV and antiretroviral therapies are widespread. Unfortunately, research has predominantly focused in cardiometabolic problems, neglecting other important areas. In fact, the immune-calcium–skeletal interface has been understudied despite its potential relevance in people living with HIV (PLWH). Using a case-control methodology, 200 PLWH receiving medical care were enrolled and stratified according to hazardous vs. non-hazardous alcohol intake (HAU vs. non-HAU) and calcium (Ca) levels by analyzing baseline data. The group was chosen to represent relatively "pure" HAU with minimal drug use and no psychiatric diagnoses. With these narrow parameters in place, we found evidence that HAU significantly increases TNF-α levels compared to Non-HAU (2.8 ± 0.6 vs. 1.9 ± 0.3 pg/ml, p = 0.05) and decreases blood Ca levels (9 ± 0.6 vs. 9.4 ± 0.5, p = 0.03). Our analyses also suggest that chronic inflammation, as indicated by increased TNF-α levels, is associated with hypocalcemia (hypoCa <8.6). Despite the limited prevalence of hypoCa, these findings are clinically significant given that hypoCA PLWH exhibited decreased CD4 (253 ± 224 vs. 417.7 ± 281, p = 0.02), B cells (147 ± 58 vs. 248 ± 151, p = 0.03) and NK cells (146.8 ± 90 vs. 229 ± 148, p = 0.008) and elevated CD8 (902.5 ± 438 vs. 699 ± 510, p = 0.09) compared to those with normal calcium. Furthermore, calcium effects on viral load were also evident with hypoCA exhibiting the highest loads (140,187 ± 111 vs. 35,622 ± 7770 HIV copies, p = 0.01). Multivariate analyses confirmed the significance of hypoCa in predicting viroimmune parameters. This paper provides the first evidence that hypoCa accounts for some of the variation in viroimmune measures in HAART recipients and suggests that hypoCa may be mediating alcohol's deleterious effects.

Apocalypse Now: An Interview with Joy Garnett

Apocalypse Now: An Interview with Joy Garnett

The role of parents and family members in ART treatment adherence: Evidence from Thailand.

High levels of treatment adherence are crucial for the success of expanding ART treatment programs everywhere. Augmenting adherence through treatment supporters is one promising strategy. Most discussions focus on peers, especially members of PHA groups, for this purpose. Far less attention is given to family members and especially older age parents. Yet ART recipients often live with or nearby parents and other family members who are highly motivated to ensure the treatment's success. This study examines the extent that family members, especially parents, assist adherence in Thailand. Results indicate that most adult ART patients live with family members and over half live with or in the same locality as a parent. Family members, including parents, commonly remind ART patients to take medications, especially if coresident. Moreover, parents often remind patients to get resupplies and sometimes accompany them to appointments. Clearly close family members, including parents, should be explicitly incorporated into adherence augmentation programs and provided adequate information to facilitate their role as long-term adherence partners, not only in Thailand but wherever ART recipients are closely linked to family members through living and caregiving arrangements.

Wielopole wielokrotnie: przestrzenna reżyseria afektu

The article presents the forms of repetition in the creation and reception of Tadeusz Kantor’s performances. Krakow cellars, Kantor’s home in Wielopole and school class in Bielkowo near Łazy in Pomerania connect here the topic of affective searching and finding sources of identity and memory. The process may refer to both the artist and the viewer, seeking in the memory, art and landscape the traces of himself, recorded in the past and projected onto the surroundings. The author’s discovery of the interiors of the cellars under the floor of the house in Wielopole, similar to the Krzysztofory cellars in Krakow where Kantor conducted the rehearsals of the famous The Dead Class, leads to the conclusion that the preexisting in Wielopole under the floor of a childhood room the space of Kantor’s play can be the source of director’s affective repetition. With the use of the repetition mechanism, numerous further artistic discoveries and meetings of the artist with the self and visions of his future performances have been made. The facilitation of this process for viewers of exhibitions and to the recipients of art, both in Bielkowo and Wielopole, seems to be the inclusion of another tool in theatrical and artistic education.