Artistic Preferences Research Articles

Artistic horizons of Natalia Belik-Zolotareva

Statement of the problem. The creative personality of N. A. Belik-Zolotarova, choral conductoris known not only in Slobozhanshchyna but also throughout Ukraine. Kotlyarevsky, winner of the I. Slatin Municipal Prize (2004) and the Person of the Year 2004 rating, is well known not only in Slobozhanshchyna but throughout Ukraine. Her work in choral art has long been respected by the music community. The author of this article personally observed all stages of the formation and development of the creative phenomenon of Natalia Belik-Zolotareva. The analysis of recent research and publications has no special scientific study of N.A. Belik-Zolotarova’s life and work. There are a number of responses, reviews, and journalistic publications that to some extent cover her personality. There is one single article «Harmony of Life and Work» by V. Palkin dedicated to the multifaceted devotion of N. A. Belik-Zolotareva. The study also relies on the works of the artist herself. The main objective is implementation of determination of N. A. BelikZolotareva’s creative activity as a bright figure of the modern national musical culture and to identify the constants of her creative and performing outlook and artistic thinking. The scientific novelty of the article lies in the comprehension of the creative figure and the disclosure of the essence of Natalia Belik-Zolotareva’s performing acme. The research methodology is based on the use of a typological approach to the integrity of the conductor’s personality in professional activity and empirical research of individual psychological characteristics of N. Belik-Zolotareva’s creative personality. The results of the study are based on the understanding of the concept of personality as a reflection of the social nature of a person, on the consideration of him or her as an individual and a subject of society. The article examines the factors that influenced the formation and development of N. Belik-Zolotareva, identifying a set of properties that contributed to the manifestation of her individuality. Conclusions. The phenomenon of N. A. Belik-Zolotareva’s creative personality is revealed at the genetic and mental, psychological and personal, general social and life-creative levels. As a result of the analysis of the artist’s creative activity, it is established that the bright creative personality of N. BelikZolotareva is manifested in the breadth of worldview guidelines, the variety of artistic preferences, and reliance on spiritual and social constants.

Preference for non-daily ART is associated with perceived extent of ART-related emotional, psychosocial, physical, and adherence challenges among people living with HIV in the Netherlands and other European countries

Supplementary files van Dyk R. et al. Popul Med 2022;4(November)31 supplemental file.pdf

Romantic interpretative model of F. Chopin’s Piano Concertos in A. Rubinstein’s (First Concerto) and H. Czerny-Stefańska’s (Second Concerto) versions

The Romantic model of interpretation is characterized by significant influence of an interpreter on the composer’s text in those part, which is the field of performer’s responsibility, and it is an alternative to the Classical as well as the Impressionistic models proposed by some scholars. The purpose of the present research is to reveal the features of Romantic interpretational model of F. Chopin’s Piano Concertos based on examples of various performers’ versions. The article analyses the performances of F. Chopin’s Piano Concertos by two outstanding pianists of the XX century, A. Rubinstein and H. Czerny-Stefańska; it is revealed how the Romantic mode of interpretation is embodied in their sound versions of these pieces. The individual approachs of the performers to the choice of temps are studied; it is revealed how the pianists emphasise the genre genesis of the certain themes of the Concertos. The performance stiyle of H. CzernyStefańska’s is briefly outlined, since she is much lesser-known in Ukrainian musicologyic space than A. Rubinstein. At the first time the idea of three interpretative models (Romantic, Classical, Impressionistic) is applied to the musical material of F. Chopin’s piano Concertos regarded in the article. Based on analysis, the conclusion is made that the both version of Piano Concertos by F. Chopin considered in the study lean to the Romantic model of interpretation. At the same time, it is quite natural that they are not the same in their essence that can be explained both, by obvious reasons (the choice of different Concertos or gender-determined performing differences), and by individual artistic preferences of the pianists, by their unique performance styles. For instance, A. Rubinstein chooses somewhat slowed down temps in multiple passages of the Concerto, including its first movement, he emphases the song features of many themes in the cases where it is appropriate and does not contradict what was written by the composer. H. Czerny-Stefańska tends to accentuate emotionallyplayful essence of the Concerto, as she focuses her attention on different types of intonation, articulation, dynamics etc. Obviously, she does not neglect lyrical nature of the work, in several themes stressing it as a predominant genre genesis. Nevertheless, H. Czerny-Stefańska aims to break the stereotypes of “feminine performance” of F. Chopin’s music, which can be seen in tendency to “wide strokes” and creation of through line of musical development.

ARTISTS AND CULTURAL WORKERS AND THE LEGACY OF KGB IN THE ACTUAL PUBLIC DISCUSSION LANDSCAPE IN LATVIA

The purpose of this paper is to examine how myths, narratives and biases referring to the recent history are born and developed in nowadays Latvia, supported by the analysis of the case study of the legacy of KGB and its actualization in the public discussion landscape focusing on the relationship of KGB and artists and cultural workers. One of the main criteria for narrowing the research subject to regarding only the relationship between representatives of the fields of arts and culture and KGB is that those particular relationship cases have caused the most heated discussions in mass media and general public, mostly due to the undeniable public ‘visibility’ of the aforementioned professionals as well as due to personal in-depth connection of society members with art products, artists and cultural workers via artistic preferences, engagement with cultural processes, individual contribution to profes- sional and amateur arts, emotional links, memories etc. Another important aspect to be considered is the strong connectedness of arts and culture with the state apparatus, as throughout history arts and cultural production has served as a propaganda tool, putting forward regime ideology and granting a certain kind of ‘power legitimization’ as supported by entertainment industry. In order to get a deeper insight into the formation of the myths, narratives and biases referring to the relationship between artists and cultural workers in nowadays Latvia, the authors of the study have combined empiric data analysis based on the research project by the Government Commission for KGB Research at the University of Latvia, the purpose of which was to prepare KGB card files for public access on the website of the National Archives of Latvia, and qualitative media and public discussion narrative analysis, focusing on how certain aspects referring to Soviet legacy in general and specifically to cooperation between artists and cultural sector workers and KGB have been framed and portrayed in actual social memory representations.

Textology as a search

The article analyses the defining characteristics of a method in textology that is rooted in the idea of a search. The method is described in detail with the example of Aleksey Balakin’s study ‘Was Goncharov the author of Nimfodora Ivanovna?’ [‘Byl li Goncharov avtorom povesti Nimfodora Ivanovna?’]: we follow every step taken by the researcher in his quest for truth about the authorship. The article acknowledges the compelling arguments offered by Balakin to debunk the novella’s long-established but hasty and unfounded attribution to Goncharov and the researcher’s meticulous verification of the style and writing period of the anonymous author against the events in Goncharov’s life and literary career (as well as his known stylistic, ideological and artistic preferences). The article mentions that the search relies on the method of comparative-critical analysis. In addition, the study compares and contrasts the meanings of a search in history and textology. In support of such a comparison, the author refers to theses from Marc Bloch’s The Historian’s Craft.

THE USAGE OF THE EPISTOLARY HERITAGE IN THE PROCESS OF STUDYING THE BIOGRAPHY OF LESIA UKRAINKA

The article deals with the issue of using the epistolary heritage of Lesia Ukrainka as a significant original source for studying the biography of the writer, true evidence of her life and work.
 It claims that the epistolary heritage is an important source of cognition of Ukrainian fiction. It allows tracing the ways of forming the writer as a professional, the development of their literary and aesthetic views, features of the thinking process. It also highlights the relationship of the artist with famous contemporaries, and helps to understand artistic heritage, historical events.
 It concludes that the letters let scholars learn about writer’s friends, her like-minded people, about the national and cultural life of Ukraine, about the artistic preferences of various cultural and artistic figures of Slavic and European literature.
 It also points out the great cognitive and educational value of the epistolary heritage of writers in the lessons of Ukrainian literature.
 The emphasis is placed on the use of various forms and methods of working with letters that can help to form pupil’s personal attitude. It can be an important means of increasing pupils' interest in literature.
 It states that the epistolary heritage is the significant source for studying the biography of Lesia Ukrainka. It reveals her views on life and work, attitude toward the literary process and social life, especially the spiritual world of the writer. Therefore, the teacher of literature creates a certain emotional mood in the lesson, helps to penetrate into writer’s creative laboratory, to present worldview values, artistic and aesthetic preferences.
 It summarizes that reading Lesia’s letters helps pupils to feel and understand her worries. The epistolary materials make schoolchildren think about their own life and deepen into their own inward worlds. The use of epistolary materials increases students' interest in literature, the ability to understand the thoughts and feelings of others.

Swede Home Chicago: The Wallin's Svenska Records Story, 1923–27

According to the liner notes of this project, Chicago has the highest Swedish population of any city after Stockholm. Chicago is also “home to the first record label founded by a Nordic immigrant to the United States.” Archeophone Records’ compilation Swede Home Chicago: The Wallin's Svenska Records Story, 1923–27 tells the story of former crofter Gustaf Waldemar Wallin, founder of Wallin's Svenska Records, a record company that came into being as a subsidiary of Wallin's Music Shop. This company issued 56 tracks between 1923 and 1927. Swede Home Chicago encompasses the entire catalog and includes two discs, featuring 28 tracks each, and a robust 76-page CD booklet. The booklet includes introductory material, performers’ biographies, track notes, lyrics and translations, endnotes, and production credits, as well as a rich plethora of archival photos relating to the Wallin family, the record company, the performers, and more.Without any prior knowledge of the folklife of Swedish American immigrants, one can still appreciate the thought and care put into this project. The context provided by the CD booklet is absolutely unmatched by that of any other project I have engaged with, and was the highlight of reviewing this project. As a folklorist focusing on music, with an eye trained on accessibility and transparency, this is particularly meaningful. For a multiplicity of reasons, one cannot and should not separate music from its historical context. The music itself cannot provide this context, especially when songs are being sung in a language one does not understand. Luckily, folklorists Jim Leary and Marcus Cederström, along with Archeophone Records’ Richard Martin, have crafted a fulfilling and multifaceted narrative that includes detailed lyric translations and is guaranteed to address any questions or concerns the listener might have.The music itself—56 tracks spread out over two discs—features piano, piano accordion, violin, and vocals covering the entire spectrum of human emotion and artistic preference and encompassing “earthy comic songs,” “pious hymns and patriotic anthems,” “venerable folk tunes [intermingled] with hot jazz,” and more. It is striking that this collection is so musically diverse despite coming from one company; it utilizes almost every possible sonic avenue within the given musical heritage to create a truly dynamic and entertaining catalog. In a further testament to the importance of these recordings at the time they first appeared, it is worth noting that the 28 10-inch shellac discs originally issued by Wallin's Svenska Records were recorded by Homer Rodeheaver and Orlando Marsh, two venerable giants of the recording industry.Swede Home Chicago is a set that anyone who is interested in music and music history should own. Speaking as a “many-sectored” folklorist, I feel there is great potential for this collection. It is both deeply entertaining and richly engaging. This project could be used in Scandinavian, migration, and music studies courses as an educational tool. Given that the CD booklet is crucial to the understanding of the project as a whole, future creators of similar projects might look to Swede Home Chicago for guidance on creating something that is appropriately contextual. However, this project should not be construed as being solely historical in scope and content. This collection has implications for folkloristics as well. I was particularly struck by the last few words on the back cover asserting that Swede Home Chicago “[illuminates] a vibrant bygone musical scene that expands our understanding of America's perpetual musical pluralism.” This concept is a lesson for folklore as a discipline, not just for those of us who focus on American music.Just as these discs run the gamut musically despite coming from a singular cultural background, American music encompasses thousands of traditions that should be recognized as equally important parts of the whole. The parsing out of these threads is endless but worthy work that yields meaningful discoveries about American folklife. I send my thanks to Jim Leary, Marcus Cederström, Richard Martin, Archeophone Records, the Mills Music Library and the Center for the Study of Upper Midwestern Cultures at the University of Wisconsin–Madison, the National Endowment for the Humanities, and all other institutions and people involved in this project—a dynamic and powerful step forward in viewing folklife through a musical lens.

The role of expertise and culture in visual art appreciation

Is art appreciation universal? Previous evidence suggests a general preference for representational art over abstract art, and a tendency to like art originating from one’s own culture more than another culture (an ingroup bias), modulated by art expertise. However, claims about universality are difficult given that most research has focused on Western populations. Across two pre-registered and statistically powered experiments, we explore the role of culture and art expertise in the aesthetic evaluation of Indian and Western paintings and dance depicting both abstract and representational content, by inviting expert and art-naïve Indian and Western participants to rate stimuli on beauty and liking. Results suggest an ingroup bias (for dance) and a preference for representational art (for paintings) exists, both modulated by art expertise. As predicted, the ingroup bias was present only in art-naïve participants, and the preference for representational art was lower in art experts, but this modulation was present only in Western participants. The current findings have two main implications: (1) they inform and constrain understanding of universality of aesthetic appreciation, cautioning against generalising models of empirical aesthetics to non-western populations and across art forms, (2) they highlight the importance of art experience as a medium to counter prejudices.

Nicholas I in Florence (1845). The Artistic Aspect of the Visit

The article analyzes the previously insufficiently researched art program of Nicholas I in Florence. That is – the study of the museum fund of Italian and European paintings, orders of art copies within the framework of the general state policy of copying similar to the policy of France and Italy, replenishment of the museum fund of St. Petersburg and Russia. Based on documents kept in domestic and foreign archives, modern literature of art historians in Russia and Italy, the author draws attention to the “pitfalls” of the classical art market in Italy, which the Russian monarch faced. His artistic preferences are also analyzed; his contribution to the formation of the museum fund of St. Petersburg and Russia is assessed. The features of the “Russian approach” to copying are revealed, which acquire relevance and practical significance during the pandemic crisis and modern technologies.

Preference or Pre-Emption Right for Cultural Objects

Preference or Pre-emption Right means the power of one party to acquire a certain object to the detriment of another making an identical claim, we need to establish a distinction by looking at the different powers underlying this act of preferring. If there are many preferences, the pre-emption over cultural property, also known as artistic or cultural preference, is a true category among other preferences. After studying the exercising of pre-emption rights, as well as their respective consequences, about Portuguese Law, we must ascertain their effectiveness, not only in terms of their viability in the effective acquisition of objects but, and equally, the objectives which this aims to pursue in terms of achieving the protection of cultural heritage.

«Я ВСЕГДА БЫЛА ПТИЦЕЙ ВОЛЬНОЙ». ИНТЕРВЬЮ С КОМПОЗИТОРОМ МАРГАРИТОЙ ЗЕЛЁНОЙ

The article is an interview with Margarita Zelenaya (born 1954), a bright representative of modern musical art: composer, pianist, music critic, teacher. The life line of the musician, the stages of the creative path, various aspects of creative talent are revealed; M. Zelenaya's thoughts and comments on various current events in the cultural life of Russia in the second half of the XX century are given, thanks to which an impression is formed about the genre, style, artistic preferences of the composer. In a wide panorama of events and facts of Margarita Zelenaya's creative path, vivid figuratively visible portraits of outstanding personalities of culture and art of the past and present are formed.

Player Autonomy versus Designer Intent: A Case Study of Interactive Tour Guides

We explore the tradeoff between player autonomy and designer intent by simulating a system of autonomous museum tour guides. Visitors may have different art preferences or may wish to visit different exhibits on multiple visits. Often, these desires conflict. For example, visitors may wish to see the museum's most popular work, but that could cause congestion, ruining the experience. Thus, our task is to build a set of guides that can satisfy their visitors' goals while also providing quality experiences for all. We present the results of a case study indicating that there is a space in the design spectrum between fully author-controlled narrative and complete player autonomy that reduces the frequency of bad experiences while allowing visitors to realize their own goals.

Evidence-based art in the hospital.

BackgroundEvidence-based art is the investigation of art effects and art investigated for effects. In this study the evidence regarding patient preferences for art styles and effects of art in nonpsychiatric hospitals and outpatient departments was reviewed.MethodsResults from original articles were retrieved by a scoping PubMed search and by browsing the internet using the terms “evidence based art”, “evidence based design”, “art and hospital” and “design and hospital”, “art effect”, “design effect”, “landscape preference” and “abstract art figurative art”. The quality of art was not operationalized as a criterion.ResultsOf the articles 7 original sources showed patient preference for natural scenes and figurative art, 2 studies showed no preference, 16 studies showed positive art effects on well-being and behavior and 5 studies showed a positive effect of nature pictures on measurable findings.ConclusionControversial results together with theoretical aspects suggest natural scenes in patient rooms and diverse art in public areas.

Nicholas I in Rome (1845). The Artistic Aspect of the Visit in the Assessments of Nikolai Gogol

The article analyzes the part of the Nicholas’ I artistic program in Rome that was previously insufficiently studied (acquisitions in Italy of works of modern painting, orders for copies from Italian and other masterpieces of classical painting, etc.). Based on documents stored in domestic and foreign archives, the author characterizes the artistic preferences of the Russian emperor, his contribution to the formation of the museum fund of St. Petersburg and Russia; establishes the relationship between the visit of the emperor to Rome and the creation of the artistic and architectural appearance of St. Petersburg and its main temple – St. Isaac’s Cathedral, as well as the revival of the mosaic case in Russia.

Conserving (with) David Lynch. A Treatment Conditioned by Communication

ABSTRACT A chance for cooperation between artist and conservator appeared during the exhibition of David Lynch's works in the Centre of Contemporary Art in Toruń. This case considers Lynch's diverse materials, secret techniques, and desire to repair his own works, with just the assistance of a conservator. The author's decision to take part in the first non-traditional artist's interventions started the communication. The collaboration enabled the recognition of original materials and artists' aesthetical expectations – and as a result, proper conservation treatment, based on built trust and mutual knowledge exchange. Assisting in the artist's repair allowed a conservator to treat subsequent works using ethically acceptable conservation methods, to recognize, research, and document materials and techniques, and to define the artist's preferences for future treatments. This case study provides a framework to approach an artist's active presence as a precedent; their impact on the conservation process should be helping to create an inclusive, dynamic, and flexible process, most effective when remaining open-ended. This article presents the axiological shift of declaring the artist as the most important decision-making voice and considers the ethical consequences to both conservation practice and the artworks themselves if such an inclusive process were to be embraced.

Movement in Aesthetic Experiences: What We Can Learn from Parkinson Disease.

Visual art offers cognitive neuroscience an opportunity to study how subjective value is constructed from representations supported by multiple neural systems. A surprising finding in aesthetic judgment research is the functional activation of motor areas in response to static, abstract stimuli, like paintings, which has been hypothesized to reflect embodied simulations of artists' painting movements, or preparatory approach-avoidance responses to liked and disliked artworks. However, whether this motor involvement functionally contributes to aesthetic appreciation has not been addressed. Here, we examined the aesthetic experiences of patients with motor dysfunction. Forty-three people with Parkinson disease and 40 controls made motion and aesthetics judgments of high-motion Jackson Pollock paintings and low-motion Piet Mondrian paintings. People with Parkinson disease demonstrated stable and internally consistent preferences for abstract art, but their perception of movement in the paintings was significantly lower than controls in both conditions. The patients also demonstrated enhanced preferences for high-motion art and an altered relationship between motion and aesthetic appreciation. Our results do not accord well with a straightforward embodied simulation account of aesthetic experiences, because artworks that did not include visual traces of the artist's actions were still experienced as lower in motion by Parkinson patients. We suggest that the motor system may be involved in integrating low-level visual features to form abstract representations of movement rather than simulations of specific bodily actions. Overall, we find support for hypotheses linking motor responses and aesthetic appreciation and show that altered neural functioning changes the way art is perceived and valued.

Aesthetic preference for art can be predicted from a mixture of low- and high-level visual features.

It is an open question whether preferences for visual art can be lawfully predicted from the basic constituent elements of a visual image. Here, we developed and tested a computational framework to investigate how aesthetic values are formed. We show that it is possible to explain human preferences for a visual art piece based on a mixture of low- and high-level features of the image. Subjective value ratings could be predicted not only within but also across individuals, using a regression model with a common set of interpretable features. We also show that the features predicting aesthetic preference can emerge hierarchically within a deep convolutional neural network trained only for object recognition. Our findings suggest that human preferences for art can be explained at least in part as a systematic integration over the underlying visual features of an image.

Practitioner experience of coupled volume auditorium design

This paper is written from the perspective of practitioners who approach the use of coupled volumes—in auditorium design in particular—as one element taken from a diverse acoustic design toolkit to be employed when appropriate to achieve an intended sound aesthetic conceived in response to the specific cultural setting of each space. In this approach, coupled volumes are considered part of a continuum of design options encompassing volumetric coupling effects and their inter-relationship with separation of early reflecting elements and room boundaries. The practice has experience with coupled volume design spanning a number of decades and from extensive listening and engagement with artists who have evolved through their experiences in these spaces. We describe particular insights gained as acoustics designers of the National Forum of Music concert hall in Wroclaw through our engagement from early strategic planning through initial operations relating to subjective and artistic preferences for set-up in performance across a varied repertoire. From a perspective spanning historical examples of coupled volume acoustics, through a consideration of auditorium design in recent history, we consider the place of coupled volume design in future.

The Student Bayan and Accordion Orchestra at Kharkiv I. P. Kotlyarevsky National University of Arts: specifics of formation and professional development

Statement of the problem. The purpose of this article is to consider the evolution of the creative activity of the student training collective – the Orchestra of Bayans and Accordions – and to determine the role of its founder, Honored Artist of Ukraine, Professor Oleksandr Ivanovych Nazarenko, a conductor, an outstanding representative of the Ukrainian bayan art (second half of the 20th – early 21st centuries). Relevance and scientific novelty of the study. The team under his leadership has existed for over 28 years, it has achieved significant success and acquired its own creative form, and its activities attract the attention of the artistic community and arouse scientific interest, which determines the relevance of this topic. O. Nazarenko’s composer creativity were covered by Kharkiv bayan players and scientists Yu. Dyachenko (2012), M. Plushenko (2017), S. Ptashenko (2013), I. Snedkov (2016), A. Strilets (2018), but the authors did not address to consideration of O. Nazarenko’s activity as an orchestral conductor and the problems of performing skills of the orchestra of bayans and accordions at Kharkiv National University of Arts, the head of which he is. The research methodology is based on a set of historical, genre-style and interpretive approaches. A comprehensive analysis of the activities of the student orchestra and its leader O. Nazarenko allowed to identify certain stages of professional evolution and the main directions of team development. Particular attention is paid to the consideration of O. Nazarenko’s conducting activity and the principles of his work with a student orchestra composed of homogeneous instruments. Based on the analysis of the artist’s work, the issues of specifics of teaching methods, selection of quality repertoire, peculiarities of arrangement for orchestra of bayans and accordions are investigated. Results and conclusions of the study. O. Nazarenko’s multifaceted activity as the director and conductor of the Student Bayan-Accordion Orchestra is very important for preserving in the repertoire and updating works of foreign and Ukrainian, in particular, Kharkiv, composers, and his education of young professional musicians contributes to the development of the Ukrainian folk instrumental performing. Under the guidance of the master, students master a wide range of instrumental capabilities – a bright palette of stroke techniques and techniques of sound production, smooth bellows movement, develop their ideas about working on a piece of music and learn orchestral thinking. Thus, the main task of the Student Bayan and Accordion Orchestra at Kharkiv National University of Arts is to present a qualitative repertoire, master various orchestra arrangement techniques and peculiarities of filigree ensemble performance. For the first time, a complete repertoire list of the orchestra was compiled, which gives an idea of the scale and content of its activities, demonstrates the principles of selection of works that reflect the artistic taste and preferences of the conductor.

Stigma hurts: exploring employer and employee perceptions of tattoos and body piercings in Nigeria

PurposeThis study draws on social stigma and prejudice to examine the perceptions and beliefs of managers and employees regarding visible tattoos and body piercings, as well as the impact they have on potential employment and human resource management in the global South, using Nigeria as the research context.Design/methodology/approachThe study uses a qualitative research approach, drawing on data from 43 semi-structured interviews with employees and managers in Nigeria.FindingsContrary to the popular opinion that tattoos and body piercings are becoming more accepted and mainstream in society, this study finds that some Nigerian employers and employees may stigmatise and discriminate against people with visible tattoos and body piercings. The findings of this study suggest that beliefs about tattoos are predicated on ideologies as well as religious and sociocultural values, which then influence corporate values.Research limitations/implicationsThe extent to which the findings of this research can be generalised is constrained by the limited sample and scope of the research.Practical implicationsReligious and sociocultural preconceptions about people with visible tattoos and body piercings have negative implications for the recruitment and employment of such people and could prevent organisations from hiring and keeping talented employees. This implies that talented employees might experience prejudice at job interviews, preventing them from gaining employment. Furthermore, stigmatising and discriminating against people with visible tattoos and body piercings may lead to the termination of employment of talented employees, which could negatively affect organisational productivity and growth.Originality/valueThis study provides an insight into the employment relations regarding tattoos and body piercing in Nigeria. The study highlights the need for mild beliefs and positive perceptions about people with visible tattoos and unconventional body piercings. There should be a general tolerance of the individual preference for body art and physical appearance, and this tolerance should be incorporated in organisational policies, which are enactments of corporate culture.