Art Reference Research Articles

REFLECTIONS OF THE FRENCH ART BETWEEN THE MID-19TH AND THE EARLY 20TH CENTURIES IN VINCENTE MINNELLI'S FILMS

This thesis aims at examining and putting forward some already familiar, as well as the newly proposed reflections, i.e. influences of the French art produced between the mid19th and early 20th centuries found in three films directed by Vincente Minnelli, including An American in Paris (1951), Lust for Life (1956), and Gigi (1958). Following a thorough elaboration on particular biographical details that might have been the reason for Minnelli’s affection for art, and the development of his style, the thesis heads towards the overview of the production of all three films, and more importantly towards their analysis seeking art references that shaped the visual component of each one of them, while simultaneously trying to discover possible reasons for their appearance.

The Effectiveness of Plastic Arts Education Weighted Creative Drama in The Education of Gifted / Talented Children

Art education is the notion of creativity which is emphasised on educating the modern human in accordance with the requirements of the age. Art education is an effective field that supports and develops creativity with all its fields. Art education provides a better expression and its contribution to other forms of expression and other disciplines cannot be denied. The main purpose of the fields of art, education and science is to serve human development and discover new things by using the concept of creativity. It is possible to say that mental skills, thoughts and intelligence may also be developed through interdisciplinary interaction while the emotions are being trained. In this study, the effectiveness of creative drama in the education of gifted/talented students for plastic arts education was investigated. Hence, drama workshops with a focus on art education were performed with plastic and modern art references. Reactions of talented students were observed during and after workshops.
 Keywords: Art, education, ingenuity, intelligence, interdisciplinary

EL TRAZO VIRTUAL


 
 
 Este articulo presenta una revisión de referentes artísticos, propuestas creativas, soportes, tecnología y técnicas nos ayudan a abordar la nueva concepción del dibujoen el entorno digital y a experimentar con ella en el entorno audiovisual. A modo de conclusión diremos que las tecnologías y la utilización de la red Internet ha hecho evolucionar las fronteras del arte contemporáneo en general y en particular los ámbitos conceptuales de creación que el Dibujo abarcaba hasta hace muy poco tiempo.
 
 

Ultra Wideband Radar Cross Section Reduction by Using Polarization Conversion Metasurfaces

In this paper, a polarization conversion metasurface (PCM) is designed for ultra wideband radar cross section (RCS) reduction. The proposed polarization conversion metasurface consists of double-heads arrow unit cell with its 90°, 180° and 270° rotated ones to create the destructive interferences cancellation and radar cross section (RCS) reduction, consequently. The proposed metasurface demonstrates ultra-wide band 10-dB RCS reduction from 9 to 40 GHz (126.5%) for normally TM- and TE- polarized incident waves. The good agreement between the simulation and measurement results at 0°, 20° and 40° incident angles prove the idea, also. The ultra wideband RCS reduction of the proposed metasurface as well as its low profile, light weight and low cost prove its high capability compared with the state of the art references.

Developing Inlaid Colouring Technique for Hot-Glass Making Process

This article discusses both the complexity and technical benefits of developing an inlaid colouring technique for the hot glass-making process. This technique was inspired by the ancient Korean ceramic decorative technique known as Sanggam, and has allowed me to delineate geometric patterns and counterfeit letters onto glass artworks, before encapsulating them between layers of transparent glass. By developing a typography design that deliberately chooses the wrong consonant and vowel letters, and combines Korean characters, the resulting designs do not fit into either South Korean or British visual culture. A number of optical properties (in particular refraction, reflection, and distortion) provoke a sense of ambiguity in the viewer’s visual experience of, as well as their response to, a series of glass artworks created for experimental purposes. The technique offers an innovative creative tool for artists working in the field of glass art, enabling them to depict expressive drawings and images through a line drawing style, using diverse colours, and in a more controlled manner than the hot glass-making process of the ‘Graal’ technique. The technical possibilities and limitations of the inlaid glass colouring technique are addressed at each step of the development process, while examples of the technical palette serve as a useful reference for artists working in the field of glass art.

Prior Art in the District Court

This Article is an empirical study of the evidence district courts rely upon when invalidating patents. To construct our dataset, we collected every district court ruling, verdict form, and opinion (whether reported or unreported) invalidating a patent claim over a six-and-a-half-year period. We then coded individual invalidity rulings based on the prior art supporting the court’s decision, observing 3320 invalidation events relying on 817 distinct prior art references. The nature of the prior art relied upon to invalidate patents is relevant to two distinct sets of policy questions. First, this data sheds light on the value of district court litigation as an error- correction tool. As prior work has shown, the public interest in revoking erroneous patent grants depends on the reason those grants were undeserved. Second, this data sheds light on the feasibility of discovering invalidating prior art during patent examination. Depending on the ease of finding the relevant prior art, it may or may not be cost effective to replace patent litigation with a different approach to error correction, such as investing more effort in examination-stage scrutiny. The conclusions here are mixed. On one hand, invalidations for lack of novelty bear many indicia of publicly beneficial error correction. Anticipation based on obscure prior art appears to be quite rare. When it comes to obviousness, however, a significant number of invalidations rely on prior art that would have been difficult or impossible to find at the time of invention. This complicates—though does not necessarily refute—the traditional view that obviousness challenges ought to be proactively encouraged.

The Effectiveness of Plastic Arts Education Weighted Creative Drama in The Education of Gifted / Talented Children

Art is the notion of creativity which is emphasised on educating the modern human in accordance with the requirements of the age. Art education is an effective field that supports and develops creativity with all its fields. The main purpose of the fields of art, education and science is to serve human development and discover new things by using the concept of creativity. It is possible to say that mental skills, thoughts and intelligence may also be developed through interdisciplinary interaction while the emotions are being trained. In this study, the effectiveness of creative drama in the education of gifted/talented students for plastic arts education was investigated. For this purpose, drama workshops with a focus on art education were performed with plastic and modern art references. Reactions of talented students were observed during and after workshops. The findings obtained based on these observations were discussed, examined and interpreted. Keywords: Art, education, ingenuity, intelligence, interdisciplinary.

PIGS AND PLAQUES: CONSIDERING RM. 714 IN LIGHT OF COMPARATIVE ARTISTIC AND TEXTUAL SOURCES

Rm. 714, a first millenniumb.c.e.tablet in the collections of the British Museum, is remarkable for the fine carving of a striding pig in high relief on its obverse. Purchased by Hormuzd Rassam in Baghdad in 1877, it lacks archaeological context and must be considered in light of other textual and artistic references to pigs, the closest parallel being a sow and her piglets seen in the reliefs of Court VI from Sennacherib's palace at Nineveh. Unlike depictions of pigs on later cylinder seals, where they are often shown as a dangerous quarry in hunting scenes, Rm. 714's pig appears in a more neutral, non-aggressive posture, similar to the sow in the Assyrian reliefs. Although Rm. 714's highly curved reverse would inhibit its use as a mounted or otherwise easily displayed object, the tablet may still have served as an apotropaic object or sculptor's model, among other potential functions.

Ultra wide band radar cross section reduction using multilayer artificial magnetic conductor metasurface

A new thin planar wideband radar cross section (RCS) surface is designed and fabricated by using two different artificial magnetic conductor (AMC) unit cells. These AMC unit cells are designed by both substrate height and relative permittivity variations to achieve an ultra wide bandwidth performance. Three layer low cost FR-4 substrates are used to simply implement these unit cells. The proposed structure reduces the RCS more than 10 dB from 13.1 GHz to 44.5 GHz (109% bandwidth), more than 20 dB from 16.43 GHz to 42.31 GHz (88.3%), and more than 30 dB from 24.7 GHz to 40.9 GHz (49.4%). Moreover, this surface has more than 103% RCS reduction bandwidth for TE polarized and more than 93% for TM polarized ones up to 50° oblique incident waves. The good agreement between the simulation and measurement results also prove the idea. In addition to using a low cost substrate, the proposed surface has a significant widest RCS reduction bandwidth compared with the state of the art references in the normal and oblique incident angles at both TE and TM polarizations.

Wide band radar cross section reduction by thin AMC structure

A new thin and wideband RCS reduction metasurface is designed and fabricated by using two different AMC unit cell tiles arranged in chessboard like configuration. One of these tiles is formed by saltire arrow unit cells, whereas the other one is formed by Jerusalem unit cells which are designed to achieve out phase difference at broad frequency range. This metasurface reduces the RCS more than 10-dB from 15.75 GHz to 41.3 GHz (90% bandwidth). The designed metasurface works properly at both TE and TM propagation modes, also. Moreover, it has stable 10-dB RCS reduction bandwidth for TM propagation mode up to 50° oblique incident angle and 30° for TE ones. These good specifications prove the designed metasurface capability compared with the state of the art references.

EL JUEGO VOCAL EN LA EDUCACIÓN INFANTIL Y PRIMARIA

La música, consustancial al ser humano, es un elemento de interrelación y desarrollo que fomenta las capacidades para el progreso comunicativo en cualquier ámbito social. Valoramos la voz como un elemento básico de la expresión musical. En la aplicación didáctica del aula trataremos de guiar el proceso natural y evolutivo de la expresión sonora potenciando la maduración de los sistemas neurofisiológicos y usos vocales en la educación musical infantil y primaria a fin de retroalimentar la expresión creativa desde la voz. Se utilizarán propuestas creativas fundamentadas en determinados referentes artísticos cuyo carácter potenciará el desarrollo de la naturaleza sonora y musical en edad infantil.

Dialogues intimes, conversation avec les bêtes

What specific bonds may be observed between a woman writing in the early 20th century, a female veterinary surgeon today and millions of anonymous people who share a bond with their pets? What special understanding, secret alliances and outbursts of passion underpin this bond with a creature who will die before them and for whom they will have to learn to grieve, a loss some pet owners recover from, and others not. This article looks at literary and artistic references, experiments in animal medicine and evocations of shared experiences which bear witness to the interactions taking place within the human-animal relationship, from the vantage point of psychoanalysis. Some of these references will enable us to pinpoint examples of the less glorious side of this relationship and the strange roles humans sometimes impose upon animals in the most undignified manner.

Caimán: Antonio Buero Vallejo's Intermedial Collage in Homage to Max Ernst

ABSTRACTSpanish dramatist Antonio Buero Vallejo (1916–2000) has been called an intermedialist for his incorporation of visual art, music, and intertextual references in his theatrical works. The present study focuses on Buero's inclusion of Max Ernst's painting Los dioses oscuros (1957) in his play Caimán (1981). To date, interpretations of the painting's role in the play have been limited to its dark and somber tone and its foreboding presence, with scant attention being paid to how Ernst's artistic vision might have affected the drama. A thorough investigation of Ernst's collage aesthetic will reveal how the artist's influence on Caimán goes beyond the apparently superficial mention of one of his paintings to become part of the constructive principle of the play. In fact, Ernst is the reason why Buero's Caimán could be termed an intermedial collage.

Harnessing technology for art history at the Frick Art Reference Library

The Frick Art Reference Library has been researching the potential of computer technology to enhance the methods art historians have historically used to do their research. The Frick has launched a number of exciting new collaborative projects with the hopes of bringing the normally staid world of art history into the 21 st century.

Poe and the Art of Painting: Tales to Be Seen—the First Spanish Illustrated Edition

The poetry and tales of Edgar Allan Poe present a body of work uniquely ripe for interdisciplinary analysis, particularly since his idea about unity of conception involves literary and visual aspects. The present study examines the pictorial dimension of Poe's tales, analyzing the art references that we can trace in some of his works. These written paintings become extraordinary sources of inspiration for innumerable artists who illustrate the images described in these texts; Poe's bizarre capacity to explore an astonishing visual richness—the beautiful, the grotesque, the macabre, the sublime, the picturesque—makes this task challenging. This article focuses on how the illustrator Fernando Xumetra approached Poe's works in the first illustrated Spanish edition (1887).

Sadeler and Procaccini: The Secular Decoration of Castello Visconti di San Vito in Somma Lombardo

The paper investigates the pictorial decoration of Castello Visconti di San Vito in Somma Lombardo, one of the finest examples of Lombard aristocratic villa of the first half of the seventeenth century. Built on a pre-existent medieval structure, the castle was richly decorated by a secular iconographic program that, drawn from Flemish sources, was executed in the period 1604–1609 by an équipe of painters gravitating towards the bottega Procaccini: the most important Milanese workshop of the time. The study, for the first time, retraces the genesis of this commission as well as the execution of the decorative program. Specifically, it individuates the complex series of iconographic sources used by Carlo Antonio Procaccini and his assistants, highlighting a coexistence of both Emilian and Flemish artistic references that is unprecedented in Lombard early Baroque art.

Arte contemporáneo y señales visuales de la cotidianidad como paradigma de modelos globales de vida y de pensamiento

Nuestra propuesta consiste en presentar un proyecto artístico personal y analizar su vinculación con obras de reconocidos artistas contemporáneos que adoptan, como referentes formales y conceptuales, unas señales visuales espontáneas presentes en los entornos cotidianos. Rastros efímeros y transitorios generados por los comportamientos y por las interacciones de las personas, que pueden ser representativos de modelos de vida y de pensamiento en la era de la globalidad. Las obras propuestas (tanto las personales como las de referencia) formalizan y reconfiguran en el lenguaje propio del arte, unas huellas y unos indicios visuales que no pertenecen en su origen al territorio artístico. Marcas, restos o vestigios relacionados con aspectos de las complejas consecuencias de la internacionalización económica y cultural así como del desarrollo y de la expansión de las nuevas tecnologías o de modelos de comportamiento como fundamento de identidades individuales y colectivas. Nuestro proyecto se compone de series de obras de diversos formatos y técnicas, realizadas a partir de nuestra experiencia en relación con estos signos cotidianos e inspiradas en referentes artísticos de reconocido prestigio y legitimidad internacional. El proyecto nace en 2009 con la serie titulada “Alter ludus”. De la experiencia docente a la experimentación artística, una reflexión sobre las manifestaciones visuales espontáneas del colectivo adolescente en el ámbito escolar, que se hacen paradigma de comportamientos y de dinámicas del mundo adulto. Siguen otras series como la titulada En directo. Rastros pictóricos de información, con la que dirigimos una mirada crítica a los límites de la información electrónica a través de la trascendencia de la complejidad pictórica; o “Don’t touch!”, que reflexiona sobre normas y convenciones, inhibiciones i tabúes, hasta las últimas producciones centradas en tendencias del pensamiento contemporáneo relativo a la ciencia, a la tecnología y a la controvertida relación entre la cultura y la historia.

La producción audiovisual como medio de difusión de la música nacional

La producción audiovisual en el Ecuador está creciendo como un medio de difusión de artistas locales. Pero la difusión de la música nacional (albazo, pasillo, yaravi, pasacalle, entre otros) en la actualidad presenta graves dificultades debido a la masificación y globalización en el internet de empresas que a través del marketing logran posicionar a sus clientes; otro problema es la poca actualización del contenido audiovisual para generar expectativa. Esta investigación busca analizar el impacto de la producción audiovisual en la difusión de la música nacional en la ciudad de Guayaquil, a través de los criterios de los actores sociales involucrados en la temática, como artistas, productores, difusores y ciudadanía. Determinando la influencia que generan las producciones audiovisuales en la sociedad guayaquileña. Así­ como identificar referentes artísticos de la escena musical nacional con el afán de comprobar si tienen una difusión efectiva que aporta a la cultura nacional desde la promoción y la masificación de sus temas mediante videoclips. Las producciones audiovisuales sirven como medio de difusión para la música nacional, pero no logran una repercusión destacada en el país, por lo cual es importante generar nuevos y mejores espacios que colaboren a la difusión de estas expresiones artí­sticas.

Adverse Inference of Intent to Deceive USPTO As a Sanction for Litigation Misconduct

In a July 2017 decision, Regeneron Pharms., Inc. v. Merus N.V. (“Regeneron II”), a divided panel of the U.S. Court of Appeals for the Federal Circuit affirmed the Southern District of New York’s judgment that Regeneron’s asserted patent was unenforceable for inequitable conduct in its prosecution. The full Circuit denied rehearing en banc by a 10-2 vote in December 2017. The notable and troubling aspect of Regeneron II is the panel majority’s approval of the district court’s imposition of a sanction against the patentee for its misconduct in the infringement litigation with Merus. Much of that litigation misconduct involved Regeneron’s failure (having waived attorney-client privilege) to produce documents requested during discovery that pertained to its prosecuting attorneys’ decision not to submit certain prior art references to the USPTO. The Federal Circuit was not mistaken in reading Second Circuit precedent as conferring broad discretion on district courts to fashion appropriate sanctions, including imposing adverse inferences. Nevertheless, the substance of the district court’s adverse inference dealt with a key component of inequitable conduct—intent to deceive the USPTO—unquestionably a matter of substantive patent law on which Federal Circuit law controls. Although not without its critics, the Circuit’s 2011 en banc decision in Therasense is, for better or worse, the current defining framework for establishing inequitable conduct. Therasense tightened the standards for rendering patents unenforceable in an attempt to stem a perceived “plague” of inequitable conduct accusations. The en banc court required that the deceptive intent prong of inequitable conduct be independently proved based on clear and convincing evidence. By relying on Second Circuit law dealing with litigation sanctions and adverse inferences generally, the Regeneron II majority allowed satisfaction of Therasense’s substantial evidentiary burden of proof by a court imposing an adverse inference as a sanction for litigation misconduct, without conducting any evidentiary hearing or trial, on the fact question of intent to deceive the USPTO.

Poèmes et aphorismes (1989–2015) by Giovanna, and: Ecouter, écrire, signifier, sur l'art verbal de la créatrice surréaliste Giovanna by Laura Santone

Reviewed by: Poèmes et aphorismes (1989–2015) by Giovanna, and: Ecouter, écrire, signifier, sur l'art verbal de la créatrice surréaliste Giovanna by Laura Santone Katharine Conley Giovanna. Poèmes et aphorismes (1989–2015). Oxford : Peter Lang, 2017. 317 pp. Santone, Laura. Ecouter, écrire, signifier, sur l'art verbal de la créatrice surréaliste Giovanna. Rome : Artémide, 2018. Born Anna Voggi in Northern Italy and raised in France, Giovanna was invited into the surrealist movement in 1965 by its founder, André Breton, shortly before the last surrealist exhibition organized personally by him in Paris at the Galerie de l'OEil, "L'Ecart absolu." Giovanna met her husband, Jean-Michel Goutier, while studying acting in Paris in 1960. Together they created poetic performance pieces for local theaters until their live performance [End Page 517] of a series of surrealist texts in the context of the "Mardis de la poésie," organized by André Almuro, attracted Breton's attention, partly because Goutier included some parts of his "Discours aux étudiants fran-çais de l'université de Yale" in his "montage" Lignes deforce surréalistes. As a result, Breton sent them an enthusiastic letter of invitation to participate in the upcoming exhibition. In response, Giovanna and Goutier created a memorable if ephemeral performance in the apartment of Radovan and Marianne Ivsic of a version of the androgyne myth "La Carte absolue," in anagrammatic homage to the impending exhibition's title. The event involved Goutier, dressed as a large playing card of the sort inaugurated as a surrealist form during World War Two, bearing Giovanna, nude, on his shoulders representing a pale, embodied phallus-figure. From live performance, Giovanna migrated to automatic drawing, inspired by the formal mechanical possibilities of the typewriter and published in the magazine Pilote, where she also worked. She moved to illustration rooted in the formal possibilities of the crossword puzzle for her contributions to the deluxe "livre-objet" version of her husband's French edition of Carlos Castaneda's The Teaching of Don Juan (1968) and L'Herbe du diable & la petite fumée (1972), translated by Marcel Khan, with the surrealist press Soleil Noir. Her images, subsequently transformed into a color slide projection show accompanied by music, were shown as a performance piece in the Galerie Delpire in 1974. It is no wonder that the poems that Giovanna came to write over the following decade are rooted in formal experiment, in wordplay linked to sound. Whereas the first surrealist automatic poems to be spoken and published out of the burgeoning movement by Robert Desnos in 1923 were built on visual as well as sonorous similarities, Giovanna's automatic poems are motivated primarily by sound. Desnos' "Rrose Sélavy" one-line poem "Les lois de nos désirs sont des dés sans loisir," for example, tricks the eye as well as the ear through visual as well as aural resemblances between the syllables mixed together on either side of the verb "to be" in the poem-equation, with the inherent sense behind the apparent nonsense only becoming evident on second thought. For Giovanna, the sounds dominate and generate the poem's words, as she signals with her foreword, "Avant-propos: Onomatopées onomatomatiques." Her neologism "onomatomatiques," blending onomatopeia with automatism, thus intentionally links her poems to the first mode of writing privileged by the surrealists in the movement's early days. The poems are studded with literary and artistic references that stream out in phrases and stanzas bubbling with productive energy, from La [End Page 518] Rochefoucauld to Proust, Leonardo Da Vinci to Marcel Duchamp, William Blake to Frida Kahlo, Mozart to Lautréamont, Herman Melville to Bataille, Deleuze, and Guy Debord. As Jacqueline Chénieux-Gendron explains in her preface to the volume, "Giovanna, elle, manipule les syllabes et les laisse essaimer." The collection's first poem, "Voir Naples…," for example, plays with the clichéd advice "See Naples and die" by building simultaneously on the resemblance between the sound of the city's name and the name of France's emperor Napoleon, famous for his Italian conquests, and the Freudian link between death and eroticism: "—Voir Naples en pantalon et mourir...