Artistic License Research Articles

Artists invoke urban food security: Nature-based solutions when everything is imaginable

Art is an amorphous field of operations that continuously sheds revered traditions and adds unprecedented innovations. It is, therefore, primed to offer original solutions to entrenched problems, such as those associated with urban foodways. Assessing the significance of the novel forms of expression that artistic license often entails entering uncharted cultural territories, then surveying the new terrains for the insights they contain. The five contemporary artists who are featured in this essay affirm this observation. The artworks they produced bypassed traditional still lifes and rural landscapes. Instead, they interrogated the particularities of current urban foodways.I treated these artworks to two concurrent paths of inquiry. One involved assessing the content of the artists’ urban food anxiteies and solutions. The other involved relating this content to the unconventional art strategies they employed to convey their creative food-generating initiatives. Methodology, therefore, constitutes an essential component of their creative practices. Their innovative strategies offer pragmatic solutions regarding urban food dilemmas that far exceed the cultural arena of art.For example, although all five artists live amid urban abundance, their focus zeroed in on food insecurity. Their artworks not only expose potential shortages and citizen vulnerabilities; they also propose security-bolstering solutions. Significantly, those solutions are not vested in broad-scale systems of production and distribution. Instead, the responsibility is entrusted to individual citizens. Their artworks introduce schemes for gaining food security that are both modest and innovative. They are modest because they are scaled to individuals, neighborhoods, and communities. They are innovative because these domestically scaled initiatives offer novel nature-based urban food solutions. For this reason, the artworks discussed on the following pages could contribute to future NBS urban food approaches. Some seem suitable for scaling up. Others demonstrate the need to relax regulations that inhibit experimentation. A few might bolster broad-scale institutional policies designed to facilitate independent food production. All replace stress with confidence.

Things I Learned This Semester Five: Four

Admittedly, I have taken some artistic license to make matters fit the old �East Fife 4, Forfar 5� joke

Making Sense of Helices: Right and Wrong Models in Science and Art

Helices are ubiquitous in art and nature. Independent of their pitch and sense of rotation (handedness), helices in sculpture, painting, architecture, scientific illustrations, conference announcements, logos, and advertising are eye-catching and aesthetically pleasing. Helices can turn either clockwise (right-handed helix) or anti-clockwise (left-handed helix). The [Formula: see text]-helix formed by l-amino acids and the double helices formed by [Formula: see text]-d-2′-deoxyribonucleic acid (A- and B-form DNA) and [Formula: see text]-d-ribonucleic acid (A-form RNA) are all right-handed. Artistic license provides the freedom to create helices of any shape and sense; indeed, many helical sculptures do not follow the natural convention observed in proteins and DNA. What is more surprising, given that models of the [Formula: see text]-helix and the DNA double helix were published over 70 years ago, is how common left-handed DNA double helices are in the context of scientific papers and books as well as in popular science writing and reporting. In all cases except for left-handed Z-DNA, the use of left-handed helices in scientific illustrations or models is incorrect. Here, we revisit the helix types adopted by peptides, DNA, and RNA, and review examples of right and wrong helical models in science, art, and elsewhere.

“There are so many ways to tell a story”: An Interview with Carlos Martínez Assad

In this interview, Carlos Martínez Assad reflects on his transition from a long career as an academic and historian to an author of fiction, as well as what it means to be Lebanese in Mexico. Before delving into the creative world of novels, Martínez Assad taught as a professor of sociology at the National Autonomous University of Mexico (UNAM). As a scholar, he has published prolifically (over twenty books and essays) and received numerous prestigious awards, including a Guggenheim Fellowship, a Medal of Historic Merit, and the Mexican National Prize of Arts and Sciences. His fiction draws heavily from his academic research into Lebanese Mexican history, and he acknowledges that although fiction grants the author artistic license, his goal is to write fictionalized accounts that are still as accurate as possible. His creative process, he states, is one of imagining how history might be duplicated, allowing for a new encounter with Lebanon, lived again with the family left behind.

Artistic License: Celebrating the talents of students and educators

Student Lily Caligan-Gilliam’s digital photography captures a hand with flowers. Teacher Sasha Corrodus-Odom’s drawing depicts her student, Trinity.

Capture: American Pursuits and the Making of a New Animal Condition

Capture: American Pursuits and the Making of a New Animal Condition

Artistic License: Celebrating the talents of students and educators

Student Katherine Tombaugh’s watercolor painting depicts sailboats on a bay. Teacher Babs Wheelden’s photograph shows a sunrise reflected in the water

Artistic licence: artwork permission practices at The Lancet group

Artwork within publications, broadly covering non-text items including graphs, diagrams, and photographs, is typically published under a copyright licence, and permission for the reproduction of such items needs to be sought. The various image rights can be difficult to navigate, especially in the era of open access, and thus at The Lancet, we have developed a streamlined workflow to guide our teams on artwork permission processes in our journals. We present a practical guide for other publishing professionals, which can be adapted to meet their resources and needs.

Artistic License: Celebrating the talents of students and educators

Kappan publishes examples of student and teacher art. This month features a teacher’s photograph of a ballet dancer and a student’s painting of a person experiencing curiosity and wonder.

Rethinking the Ph.D. dissertation in botany: Widening the circle.

Rethinking the Ph.D. dissertation in botany: Widening the circle.

Artistic License: Celebrating the talents of students and educators

Kayla Le’s oil painting, Bubble Wrap Boundaries, was inspired by art she saw on Instagram.

Saint Bridget of Sweden and the Teutonic Knights. Her Revelations in the context of the Gothic crucifix from the Holy Trinity Cathedral in Kulmsee (Chełmża) and the legacy of other mystics

The article presents an analysis of the early fifteenth-century wood-carved crucifix from the Holy Trinity cathedral in Kulmsee (Chełmża) in the context of the fourteenth-century Brigidian Revelations. The crucifix was created in a unique in the Teutonic Order State four-nails type. It differs from other, more distant, and older, crucifixes of the four-nails type. In my opinion, the crucifix, because of its inspirations which come from the Revelations of Saint Bridget of Sweden, is another type of a mystical work of art; however, it does not belong to the fourteenth-century widespread type of mystical, extremely suffering crucifixes. My intention is to show that the reception of ideas and motifs in the Gothic times could also be apolitical, although it might be considered a paradox since we have in mind some critical remarks of Saint Bridget towards the Teutonic Order. Furthermore, I emphasise that in the fourteenth century, which was a period distinguished by flourishing mysticism, were present certain similarities in writings of various mystics, which can be compared to a style of the particular time – in German, “Zeitstil”. The discussed crucifix is another evidence that in Christian art the sculptors and their instructors had tremendous artistic licence, and the sacred image along with its visual language was of significant importance for the piety of that period.

Pigeons and papyrus at Amarna: the birds of the Green Room revisited

Ancient Egyptian art features many carefully observed depictions of wild animals and birds. A famous example is the late Eighteenth Dynasty (fourteenth-century BC) wall paintings of the Green Room in the North Palace at Amarna, where naturalistic depictions of birds feature prominently. Their taxonomic identity, however, is not resolved in all cases. Here, the authors revisit the facsimiles produced in the 1920s by Nina de Garis Davies. Mindful of previous works, taphonomy and the interplay between naturalistic observation and artistic licence, they employ ornithological resources to conduct a qualitative assessment and propose a parsimonious scheme of identifications, relating the results to long-standing questions concerning ecological and stylistic aspects in the artwork.

The Machinery of Creation. Oulipo Poetry, Copyright & Rules of Constraint

This article explores the double burden of creative regulation – the aesthetic restrictions artists choose and their interaction with copyright rules, using the example of oulipo, a constraint-based creative practice. Part One explains the Oulipo movement. Oulipo technique is then demonstrated in new poems by artist and poet Janet Bi Li Chan, based on existing works, Franny Choi’s Turing Test and Tracy K Smith’s Sci-FI, applying word substitution (N + 7), erasure or blackout technique, and remixing. Part Two applies a copyright law reading to the new poems. We show how legislative frameworks measure all creators – regardless of artistic self identity and process – as if they were humanist authors. But in application tests also produce far more surprises than might be expected if law is conceived of as rule-based constraint. Part Three applies Oulipo techniques to key articles of the Berne Convention that permit artistic licence: Art 9 Right of Reproduction; Art 10 Certain Free Uses of Works; and Art 10bis Further Possible Free Uses of Works. These new Berne poems highlight the prescriptive face copyright law presents to creators. We argue it is the emotional resonance of copyright, rather than its technicality, that primarily impacts creative practice. We conclude that law reproduces an idealised imaginary of a humanist author to measure creative transgression and this confinement means that copyright is unable to properly converse with artists or poets. Law suppresses the cyborg in all creation.

Artistic License: Celebrating the talents of students and educators

This monthly column features a teacher’s photographic self-portrait using shadows and reflections and a student’s pointillist drawing of a solitary rabbit that expresses her feelings of solitude.

Cover Image

Artificial OrgansVolume 46, Issue 11 p. i-i COVER IMAGEFree Access Cover Image First published: 29 October 2022 https://doi.org/10.1111/aor.14416AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Graphical Abstract To illustrate artificial vision with infrared image enhancement, I thought the viewpoint for the viewer would help differentiate this from virtual reality. While this is not necessarily how someone would see with artificial vision, we used an artistic license and displayed the colors in infrared spectrum to better emphasize the infrared component of the artificial vision. Volume46, Issue11November 2022Pages i-i RelatedInformation

Artistic License: Celebrating the talents of students and educators

“Visitors,” a mixed-media work by teacher Suzanne Kirschner, grew out of her grief and frustration about seeing those she cared about fighting cancer. “Home,” a painting by high school student Tenley Douglass, depicts a castle to celebrate the comfort she’s gotten from the Walt Disney World theme park.

Artistic License: Celebrating the talents of students and educators

This monthly column features an acrylic painting of a school staff member’s pet cat by student Samiksh Laxmana Medudula and an acrylic painting of a bear by K-12 art teacher Sarah Bennett Winter.

Artistic License: Celebrating the talents of students and educators

This monthly column features an oil painting of her friend by student Olivia Fernandez-Geddes and an abstract etching by educator Michael Takemoto.

Hayden's Landscapes Revisited: The Drawings of the Great Colorado Survey

Hayden's Landscapes Revisited: The Drawings of the Great Colorado Survey