Category Of Art Research Articles

Senufo: Art and Identity in West Africa

September 01 2018 Senufo: Art and Identity in West Africa Senufo: Art and Identity in West Africa curated by ConstantinePetridis and Susan ElizabethGagliardi Cleveland Museum of ArtFebruary 22–May 31, 2015 Author and Article Information Online Issn: 1937-2108 Print Issn: 0001-9933 © 2018 by the Regents of the University of California.2018The Regents of the University of California African Arts (2018) 51 (3): 81–83. https://doi.org/10.1162/afar_r_00419 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Senufo: Art and Identity in West Africa. African Arts 2018; 51 (3): 81–83. doi: https://doi.org/10.1162/afar_r_00419 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsAfrican Arts Search Advanced Search With nearly 160 works on display, Senufo: Art and Identity in West Africa explored and challenged established definitions of “Senufo,” perhaps one of the most well-known categories of African art. Working through the five galleries, visitors learned of the historical underpinnings of Senufo as an ethnic, linguistic, and stylistic classification. Visitors were encouraged to challenge their understandings of these classifications through close looking and comparisons of like objects. Finally, they were asked to rethink the stylistic categories by reexamining objects that tend to be outside of the established canon. The brilliant displays and excellent selection of objects provided a visually stunning experience, while the expert organization and insightful texts presented an intricate educational narrative. These two aspects worked together to create one of the most sophisticated and provocative contemporary exhibitions of classical African art to date. Opening the exhibition, a dark, teal blue wall boldly displaying the exhibition's title and... You do not currently have access to this content.

Georges Rouault’s (un)popular clown paintings

ABSTRACTDuring the long career of French painter Georges Rouault (1871–1958), the artist is known to have created around 170 paintings featuring images of popular entertainers, most often circus performers and clowns. Painted in the artist’s signature ‘messy’ style, the clowns depicted often appear out of their performative context and in an unhappy state that seems incongruous with their character. This article makes a case that such an approach falls under the category of (un)popular art, which occurs when artists appropriate and then dismantle popular images in order to construct works of high art. The author argues that while the artist’s aesthetic clearly oversees a shift in the cultural status of the clown from popular to elite art, the effects of Rouault’s expressionism are strongly dependent upon acknowledging the popular dimensions of the work. Reconceptualising the exchanges between certain cultural forms, such as those between popular culture forms and the avant-garde, as (un)popular offers a productive way of foregrounding the essential contribution popular culture has made to elite culture, and helps redress the historical prejudices which have established the popular as antithetical to works of high art.

Publication trends in literature on eBooks: a Scopus based bibliometric analysis

PurposeThe purpose of this study is to analyze the global scientific outputs on eBooks research using Scopus database.Design/methodology/approachThis study collected literature published during 2001-2016 from the Scopus database. Following keywords were used: “eBook*”, “e-Book*”, “electronic book*” or “online book*” in title or keyword or abstract with time span covering 2001 to 2016. The authors further restricted their search limit to subject category of social science, computer science and arts and humanities. A total of 2,965 documents were found from the search strategy, including 1,582 research articles. Articles were considered for the analysis using Microsoft Excel 2007. The bibliometric analysis was performed to analyze the document types, language, publication output, citations, authorship pattern, journals, prolific authors, productive countries and most frequently appeared top words/phrases from the title of the articles.FindingsLiterature on eBooks grown exponential and eBooks was the hot topic of the research in recent decade. Most of the articles were contributed by the single authors, and the USA and the UK were the most productive countries; however, in recent times, Taiwan has also joined them. The articles published in the year 2009 have recorded highest citation rate. Publishing Research Quarterly was the most productive journal, which has published 61 articles on eBooks, followed by the Electronic Library (59) and Library Hi Tech News (35). Korat O. was the most productive author on eBooks research who was affiliated to Bar-Ilan University, Israel. The researchers were keen on investigating the experience of use of eBooks, reader, impact, challenges, access, reading habits and usage of the eBooks.Originality/valueThis is the first kind of study to quantify global research patterns and trends in eBooks, which might provide a potential guide for the future research.

Различное понимание категории художественной правды в творчестве американских романтиков

Различное понимание категории художественной правды в творчестве американских романтиков

Når kunstgenstanden ikke længere er en genstand. Om performancekunstens udfordring for museumspraksis

The article “When the art object is no longer an object – on performance art’s challenge to museum practice” investigates the challenges that museums in the 21st Century face when exhibiting and collecting performance art. As an ephemeral and time-based art form, performance art works against the classic museum traditions of registration and handling because it seldomly fits into the object-based categories. Performance art thus creates an opportunity to rethink the structures and categories of art in the museum institution. Based on a case study of the reperformance of the Serbian artist Marina Abramović (b. 1946), and the German artist Ulay’s (Frank Uwe Laysiepen, b. 1943) iconic work, Imponderabilia (1977), the article looks closer at some of the challenges of having performance as a live element in the exhibition. The point of departure is the retrospective exhibition, Marina Abramović – The Cleaner, at Louisiana Museum of Modern Art in Humlebæk, Denmark (2017). Although not part of the museum collection, the works by Abramović enable a discussion of some of the challenges with collecting and handling a live work of art. Abramović has played an important role in the institutionalizing of performance art, and she still busts the framework of museums when she forces institutions to adapt to her art works. Performance art proves to still not fit into the museum – at least not in the traditional categories or terms – but maybe that is about to change, as museums seem keen to adapt their curatorial and collecting practices to the performance works.

A Study of Artworks based on Artificial Autonomy Focussing on Cybernetics and Generative Arts

예술에서 인공성의 요소는 현재에 이르기까지 순수 예술과는 일정 정도 이상의 간극을 지닌 특성으로 간주되어 왔다. 이러한 현상은 사진을 비롯하여 영상(영화) 및 새로운 기술 매체들과 결합한 예술 형식이 등장하고 있는 최근에도 발견할 수 있는데 이는 예술이 지닌 순수성의 원천을 인공성과 대비되는 자연성에서 파악하고자 하는 의도에서 찾아볼 수 있다. 특히 시각 예술의 경우 이미지를 통한 재현의 역사로서 ‘자연적 대상 - 인공적 재현물’이라는 이분법적 구도를 형성해 왔다. 과거 사진은 자연적 인간 주체의 시선이 담겨있지 않은 인공적 기술 매체에 의해 파생된 이미지로 간주되어 예술의 범주에서 소외되었으며 영화 역시 우리의 눈을 현혹시키는 마법과 같은 인공적 기술로서 인식되곤 하였다. 물론 이러한 구분은 기술 매체가 지닌 인공성을 예술의 도구적 특성으로 한정시키며 부분적인 것이 되었다. 즉, 작품을 구성하거나 제작하는 형식으로서의 인공적 기술 매체는 예술의 한 부분으로 인정되었으나 이는 예술 자체의 인공성에 관한 수용은 아니었다. 여전히 예술의 영역에서 인공성은 부차적이며 도구적 수준에서 이해될 수밖에 없었다. 그러나 최근 과학-기술-산업계에서 주요한 이슈로 제기되고 있는 인공적 영역, 특히 자연적 인간 주체의 고유한 특성으로 분석해 오던 지능과 생명, 기억과 인식의 과정이 인공적 단위에서 발생할 수 있음은 예술의 영역에서도 중요한 논의의 출발점이 되고 있다. 인공지능이 인간의 영역을 대체하고 심지어 초월하려는 시도가 창의성을 근간으로 하는 예술의 영역에서도 유효할 것이냐는 문제제기가 그것이다. 본 논문은 이러한 맥락에서 인공적 창의성을 가능하게 만드는 인공의 프로그램 영역이 예술 작품에서 어떻게 나타나고 있는지를 분석하며 그로부터 예술의 인공적 자율성의 근본적 요소에 접근해보고자 한다. 또한 이러한 인공적 자율성의 근간에 인간과 유사한 직관 및 기억의 요소들이 내포되어 있음을 파악하는 것이 주요한 목적이다.From past and present, artificiality in art is regarded as a character which have a distance of fine arts. These streams are found when art-form collaborated with new technology like photograph and cinema appeared in the recent world. It is because there is an ideology that purity of art comes from not artificiality but in nature. Especailly, in visual art, have formed the dichotomous structure of ‘natural object-artificial representation’ as a history of representation through image. In the past, photograph is neglected from category of art by reason of generative image made in artificial technology without human subject’s gaze and cinema also has been recognized as an artificial technology like magic which dazzles us. Of course, this classification define artificiality of technology in instrumental character became a small part of appreciation. In other words, artificial- technological media as a form of constituting and making artworks is was recognized but this is not a certification of art about artificiality. Artificiality in the art scene is still secondary character and appreciated as a instrument. But in these days, the fact that artificiality generate intelligence, life, memory and awareness which are regarded as human-subject’s own traits became a starting point for the discussion in the arts. The problem is that artificial intelligence try to replace and beyond human’s own area and it can be a meaningful point in the art scenes. This study try to analyze how artificial program will appear in the art scene and from this point approach radical element of artificial autonomy. Also main purpose of this study is understanding the implicit meaning of artificial autonomy and the fact that it can be involved institution and elements of memory like a human-being.

Modern art challenges face detection

There is a widely held belief that computer vision, in general, and face authentication, in particular, are to a large extent solved problems. This paper challenges this belief regarding face authentication using examples from modern art that significantly confound face detection. The challenges are made concrete using a new MAFD-150 dataset (Modern Art Face Detection) composed mostly of modern art examples that cover much diversity in style and artists. MAFD-150 challenges the belief that singleton and crowd face detection is an almost solved problem, and provides baselines and preliminary results that highlight the inadequacy of current expertise and methods to address face detection. In particular, we show that well-known face detection algorithms are only able to achieve an F1 score of less than 35% overall across the new dataset. Additionally, we discuss the performance of the selected face detectors on varying art categories (such as Impressionism, Pop Art, et al.) to show how style and face representation may impact these algorithms. The paper concludes with suggestions on how to advance face processing by leveraging the complementarity between Show-and-Tell-like methods and a context and cooperative driven visual question answering framework using relevance-based triage. The very challenges detailed throughout are then shown to be helpful with developing novel, robust, and secure access protocols that combine text and modern art images using the visual question answering framework.

Comic Performance in Pakistan: The Bhānd by Claire Pamment

Reviewed by: Comic Performance in Pakistan: The Bhānd by Claire Pamment David Mason COMIC PERFORMANCE IN PAKISTAN: THE BHĀND. By Claire Pamment. New York: Palgrave Macmillan, 2017. 229 pp. Hardcover, $99.99. "Who's on first?" Claire Pamment characterizes bhānd as a type of performance that involves witty, verbal repartee between two male performers, an authority figure and a clownish foil who comments on current events "in metaphors that combine social, religious and/or cultural references" and in "play with paradoxes in their environment" (pp. 9, 20). I had to wonder why the author never cites either Abbott or Costello. Pamment's further description of bhānd as operating historically as "comic interlude" for popular theatre seems to demand some explicit [End Page 508] acknowledgment of the affinity between Pakistan's bhānd and the comic duos of burlesque and vaudeville in the United States (p. 15). But Pamment doesn't stumble into the neo-colonial trap so easily as I. Besides the fact that Pamment's book is too globe-conscious to allow some American phenomenon to assert itself as the topic's touchstone, its particularly compelling theory is a promotion of bhānd as a mode of performing, rather than as a form of performance with a discrete, historical lineage's implication of a genetic relationship with other like forms (Pamment identifies the first part of the book as "Genealogies"). Bhānd may have history and precedents, as any particular instance of performance surely does, but, as Pamment argues it, the presumption of bhānd's descent from any particular tradition has prevented us from seeing its peculiar flexibility and subversive force—a force that bhānd does not necessarily inherit from progenitors, but, rather, wields as what comes more-or-less inevitably when two people must keep the attention and favor of an audience with only their bodies, their words, and their imaginations as tools. Two broad concerns occupy, more or less, two equal halves of the book. The first is bhānd's place across centuries of South Asian history. The second is the manner in which bhānd currently operates in Pakistan. The first of these concerns is the more slippery of the two. Pamment acknowledges bhānd's uncertain origins and wrestles with the term's entanglement with performance genres and with sociopolitical communities. That is, during the recent few centuries, the term bhānd has signified not only a form of performance, but also the particular jati, or group of people who perform it, as determined by heritage, profession, and social class. This entanglement with two distinct concepts makes a neat, definitive history impossible. However, the uncertainty of the term allows speculation that leads Pamment to a number of intriguing propositions. As a performance form, for instance, bhānd demonstrates some of the problems with the term "folk theatre," a protean category of art as ubiquitous in politically-determined discourse as it is in scholarship. Touching the elite classes, modern venues, and sociopolitical currency as much as lower classes, the provinces, and tradition, bhānd, whenever it began, seems always to have defied the rather recently-constructed notion that certain kinds of performing preserve a cultural authenticity in a pre-present, pastoral aesthetic. Pamment's investment in bhānd's history also gives the lie to the idea that antipathy to theatre is embedded in Islam's very nature, and that theatrical performance is either completely absent in putatively Muslim countries or markedly impoverished. In sussing out bhānd's possible histories, the book offers a summary of the value that Islam [End Page 509] gave to theatrical performance—especially comic performance—from its beginning, and a compact catalog of performing forms across Islam's history, peoples, and regions. The book does not wander into descriptions of ruhozi, ortaoyunu, maskharaboz, etc., but does offer a compact list of topics that a person who wants to develop a familiarity with theatre in relation to Islam can pursue. Perhaps most importantly, Pamment's cautious history supports the contention that the modern iterations of bhānd emerge from a blend of Hindu and Muslim phenomena, as well as from elite and plebeian precursors...

Snake Oil

Snake Oil Donna J. Gelagotis Lee (bio) A large fold of skin—I think, It's swelling— but the doctor sees no inflammation—no one explained how I'd grow old—no one told me how the skin's loss of elasticity would show on my fingers, my mons pubis, the abdomen, at the bend of the arm— this thin skin has new meaning and soon I can't leave my house without foundation—every scar, every sun spot rises to the surface, the skin uneven, the face a landmine—I can feel the changes, the shift in fat distribution, the uncertain bones, and could it all be hormones?—the doctor says it's normal, [End Page 274] but I want my old body back, strong, sleek … fingers tapered, even if it takes snake oil. [End Page 275] Donna J. Gelagotis Lee Donna J. Gelagotis Lee is the author of On the Altar of Greece, winner of the seventh annual Gival Press Poetry Award and recipient of a 2007 Eric Hoffer Book Award: Notable for Art category. Her poetry has appeared in journals internationally, including the Bitter Oleander, Feminist Studies, Frontiers: A Journal of Women Studies, the Massachusetts Review, and WSQ. She can be reached at leedjgel@gmail.com. Copyright © 2018 Donna J. Gelagotis Lee

A Study on User Education Programme and Library Usage in Periyar University and Pondicherry University

Academic library is the ‘heart of university’. The main objective of the academic library is to make the learning process more effective. To obtain this, it facilitates a good physical environment, provide affluent library collections and services. It determines the library rules and regulations as a guiding philosophy on how to use the library environment, collections and resources. It educates the guiding philosophy through user education programmes/library orientation programmes and expects all the students to comply with the library rules and use the library in an effective manner. An assessment about the programme mix, awareness level of rules, library usage, opinion on library collections and resources and feedback platforms used by the students’ who attended the programmes will provide more insights to the library and help the library to attain its objective. To investigate this, a study is conducted on a total of 119 students from Periyar University and Pondicherry University who attended the programmes. The total percentage of male students included in the study is 60.50% and female student is 39.50%. The minimum age of the student included in the study is 18 and maximum age is 34. Students within the age group 22–25 were the major respondents of the study which has 69.75% in the total study sample. About 63.87% of students were doing post-graduation in the universities and they were majority in the study. On considering the course discipline category, the arts category students is 50.42%, science category students is 36.97% and the other (engineering) category students is 10.08%. Among the 119 respondents, 65.55% attended the user education programme, 18.49% attended the user orientation programme and 15.97% attended the library tour. 95.80% of students are aware about the library rules. Among the 119 students, 48.74% visits library daily, 24.37% visits at least twice within a week, 9.24% visits weekly, 5.04% visits fornightly, 5.88% visits monthly once and 6.72% visits occasionally. The purpose of visiting library for ‘subject knowledge’ holds the first rank and ‘writing article for publication’ holds the 8th rank. Student's opinion about library space, facilities, staff, resources and services shows that the satisfaction level in Periyar University is 73.43% and in Pondicherry University, it is 70.68%. On the total, 52.83% of the respondents mentioned that they will ‘talk to librarian’ to express their feedback. 41.51% of the respondents mentioned that they will use ‘Suggestion book’ to record their feedback.

Entrepreneur Capability in Pekalongan City: Issues of Gender, Local Culture and Anti Plagiation Spirit for Creative Community

Pekalongan City is the first creative city in Indonesia to be included in the world creative city list by UNESCO in Craft and Folk Art category. The creativity aspect as the motor of the creative industry in Pekalongan will refer to culture, technology and intellectual property as a strategic driving force in the industry. Another aspect is the issue of gender and entrepreneurial capabilities in line with the needs of the entrepreneur to develop the idea of a product that must always be renewable as a prerequisite of living in the creative economy. The development of two new variables in the creative economy paradigm in the context of entrepreneurial capabilities other than innovative, proactive and risk-taking variables is the anti plagiarism spirit of design and the unique value of the product. The direction of this paper is to know whether there is any influence of gender in its contribution to performance aspect, commitment to cultural preservation, and anti plagiarism spirit and unique product development in order to maintain Pekalongan existence as creative city of UNESCO. This study has a sample of 45 men and 45 women as entrepreneurs and creative industry business in Pekalongan City. The statistical approach using Chi Square analysis with conclusion there is no relationship between gender with the three aspects of research in the form of business performance, cultural commitment and anti plagiarism spirit. In the analysis using Cross Tab, provide description that there is gender equation of way of thinking and strategy of survival and commitment between both capability of entrepreneur of man and woman in Pekalongan.

Art and the Subject in Revolutionary Cuba

This paper explores the ways in which alternatives to capitalist social relations have manifested themselves in the cultural field in Cuba. Its approach is consistent with Don Mitchell's insistence on a “focus on the material development of the idea (or ideology) of culture”(1995: 102), insofar as culture is considered a central part of the ideological development of the Revolution. Cuba's multifaceted conception of culture is not confined to the field in which creative endeavours are undertaken. Creative activity is understood as a process of social production, with human happiness as its end product, which implicates culture in both education and emancipation. While considering the formation of new subjectivities through culture, this paper elaborates the huge effort that was made by the revolutionary government to ensure that both culture and creativity were accessible to all. In the process, it offers a glimpse of ways in which the traditionally discrete categories of artist and audience have been redefined.

Statistical Image Properties in Large Subsets of Traditional Art, Bad Art, and Abstract Art.

Several statistical image properties have been associated with large subsets of traditional visual artworks. Here, we investigate some of these properties in three categories of art that differ in artistic claim and prestige: (1) Traditional art of different cultural origin from established museums and art collections (oil paintings and graphic art of Western provenance, Islamic book illustration and Chinese paintings), (2) Bad Art from two museums that collect contemporary artworks of lesser importance (© Museum Of Bad Art [MOBA], Somerville, and Official Bad Art Museum of Art [OBAMA], Seattle), and (3) twentieth century abstract art of Western provenance from two prestigious museums (Tate Gallery and Kunstsammlung Nordrhein-Westfalen). We measured the following four statistical image properties: the fractal dimension (a measure relating to subjective complexity); self-similarity (a measure of how much the sections of an image resemble the image as a whole), 1st-order entropy of edge orientations (a measure of how uniformly different orientations are represented in an image); and 2nd-order entropy of edge orientations (a measure of how independent edge orientations are across an image). As shown previously, traditional artworks of different styles share similar values for these measures. The values for Bad Art and twentieth century abstract art show a considerable overlap with those of traditional art, but we also identified numerous examples of Bad Art and abstract art that deviate from traditional art. By measuring statistical image properties, we quantify such differences in image composition for the first time.

On the Defensive: Reading the Ethical in Nazi Camp Testimonies by Sharon Marquart

Reviews 229 years in early modern France), approach to dramatic characterization (with a previously unheard-of depth of development, especially with respect to Figaro), and manipulation of dramatic convention (from comic language to recognition scenes) allows scholars to theorize the complex interactions Beaumarchais stages between theater and novel (Catherine Ramon), between “high” and “low” culture (Jennifer Ruimi), and with respect to classical comedy and tragedy (Marie-Emmanuelle PlagnolDi éval, Franck Salaün, Odile Richard-Pauchet). Particularly elegant contributions by Anne Richardot and Sophie Marchand underscore how genre-based criticism reveals Beaumarchais’s deep engagement with the core Enlightenment drive to question established hierarchies, both in terms of artistic categories and the conception of the individual in society. A more specific focus on particular thematic continuities across the plays confirms the role of La mère coupable in establishing the overall coherence of the trilogy. Jean-Pierre de Beaumarchais’s illuminating reading of the function of marriage across the plays (unlike the other essays, including the sparkling biographical sketch by the same author that opens the volume, this work was previously published elsewhere) serves as a fine counterpoint to Françoise Le Borgne’s reading of the role of husband, just as the notions of circulation and exchange link Florence MagnotOgilvy ’s analysis of money in Le mariage with Bénédicte Obitz-Lumbroso’s lively analysis of letters in all three plays.A bibliography on the trilogy and summaries of the volume’s chapters in both French and English conclude this useful, readable, and valuable collection. Louisiana State University Jeffrey M. Leichman Marquart, Sharon. On the Defensive: Reading the Ethical in Nazi Camp Testimonies. Toronto: UP of Toronto, 2015. ISBN 978-1-4426-5066-4. Pp. x + 220. The central theme of her project, Marquart tells us, originated in the unsettling experience of perusing L’album d’Auschwitz, a collection of photographs documenting the arrival, in 1944, of some 400,000 Hungarian Jews, of whom 350,000 “were gassed in assembly-line fashion hours after their arrival”(150).What strikes the author about several of the photos—also reproduced in her book—is a discrepancy between the captions provided by the editors and the effect the photos have on her. While the editorial comments offer a general description of the devious and highly efficient functioning of the machinery of mass slaughter devised by the Nazis (the victims are not aware they are standing in front of buildings housing the gas chambers, for example), Marquart finds that she is inevitably drawn to the individuals in the photos and cannot help but wonder “who these people were, what they might have been thinking in these moments” (158). Referencing Barthes’s theory on photographs and their impact, Marquart suggests that their powerful visual effect is due precisely to the contrast between a generalized, objectifying, even normalizing historical perspective offered by the captions and what Barthes calls the “punctum,” the visual shock of the photos brought about by the realization that “the people captured in them ‘are dead and are going to die’” (162). It is a contrast the author finds is often characteristic of Holocaust literature and, in particular, of the testimony of its survivors:“[M]y central aim in this book is that theoretical ethical knowledge cannot prepare us to respond to the ethical demands of atrocity”(26).What frequently happens is that attempts—wellintentioned as they might be—to rationalize and explain the Holocaust often lead to a defensive posture that ends up repressing or even ignoring the traumatic and traumatizing dimension of victims’ experiences. In making her case, Marquart contrasts the accounts of mainly two survivors. One is Jorge Semprún, whom she places among France’s and Spain’s “most famous authoritative intellectual witness writers” (9). Semprún’s intellectual approach is problematic, however, because it manages to turn witness testimony into self-centered“masterly narratives”that claim to speak for others. These are accounts that also tend to impose norms and values reflecting present needs or ideologies in terms of a universalizing logic or some artistic and creative designs. The other witness is Charlotte Delbo, a survivor and author whose work provides an implicit critique of the “well...

PSYCHOLINGUISTIC PREREQUISITES FOR DEVELOPING LISTENING COMPETENCE OF PRE-SERVICE TEACHERS THROUGH FICTION AUDIOBOOKS

The quality of the professional training of foreign language teachers presupposes high level of their listening competence. However, in non-authentic language environment developing proficiency in listening is recognized as a difficult task. Therefore, Ukrainian methodologists are in search of new ways to improve listening skills of pre-service teachers. The purpose of this article is to explore recent research into psycho-linguistic issues and analyse the grounds for the development of listening competence by means of fiction audiobooks. This paper therefore deals with the analysis of cognitive processes and psychological mechanisms, listening stages (motivational, analytically-synthetic, executive and controlling). It goes on to focus on artistic perception and its mechanisms and the information processing mechanisms. Since fiction is an art of words, specific features of listening to audiobooks are primarily related to the category of art. It is revealed that at all levels of the structure of an artistic text (genre, plot, structure) there are some authors guidelines which guide, direct attention and activate apperception. The typical benchmarks of audiobooks that help to activate apperception (genre, cover, title, sample, summary, reviews, author / narrator, volume, rating etc.) have been determined. It has been found that listening to an audiobook should result into its "projection" in the recipients mind. The "projection" may be materialized through a secondary text. It is concluded that the mechanisms of listening to fiction audiobooks are: 1) mental processes (perception, thinking, memory, attention); 2) psychological mechanisms (speech hearing, articulation, anticipation, comprehension, working memory); 3) mechanisms of artistic perception (emotions and feelings, imagination, apperception, figurative and associative thinking); 4) information processing mechanisms (mechanism of equivalent replacements, transcoding, compression, expansion, transformation). Thus, the following prerequisites for developing listening competence of future teachers have been singled out: 1) interests of students, motivating factors should be considered; 2) students must be taught to analyze, synthesize and process information while listening 3) psychological mechanisms should be developed; 4) apperception should be activated before listening; 5) students should be able to share their “projection” of the audiobook.

Erratum to: Contextualizing the subjectivist-objectivist debate in entrepreneurship using engineering, art, craft, and bricolage

The debate regarding the degree to which opportunities and resources are social constructions risks stagnation because it is difficult to argue that opportunities are either entirely constructed or entirely objective. In this paper we seek to contribute to this debate by introducing some overlooked aspects of the work of Levi-Strauss (1962) as they relate to the discussion of entrepreneurial opportunities and resources. A categorization scheme of entrepreneurs based on Levi-Strauss’ categories of art, craft, engineering and bricolage can be used to help differentiate the ways in which entrepreneurs view opportunities and resource acquisition, and how those views impact entrepreneurial action and ultimately entrepreneurial success. This contrasts with the more traditional entrepreneurship literature, which views opportunities as objective phenomena and opportunity identification and exploitation as completely rational.

캐럴의 성공가치에 의한 인터랙티브 아트 범주의 구분

캐럴의 성공가치에 의한 인터랙티브 아트 범주의 구분

The Dance Theatre in the Film Pina

Dance Theatre is a kind of comprehensive performance form of high difficulty, based on the generalized dance, pursuing a return to the traditional dance form. Pina Bausch’s Dance Theater will be promoted to a mature period using a special theatre style, which blends various art categories, even elements in life [1]. Speech, voice, sign language, pantomime, social dance, circus, live music, stage devices, natural environment objects, cinematic montage and other elements are combined to form a new diverse and rich dramatic stage language. This paper is mainly to explore the Dance Theater in the film Pina.

On the Integration of Chemistry and Art

Chemistry and art are the fruits of labor created by humans. They always infiltrate and promote each other to realize the common development and prosperity in the establishment and development process. The combination of chemistry and art is inevitable trend of the discipline development and the construction of higher education model in the twenty-first century. The relationship between chemistry and art was expounded in this paper from the category of art. It indicated the function and importance of the combination of art and chemistry in the aspects of cultivating talents and changing the current situation. The combination has certain significance for reference in terms of promoting the coordinated development of chemistry and art, training diversified ways of thinking for students, mastering the comprehensive knowledge, enhancing the innovative spirit and practical ability as well as constructing talent training model and contents.

Research on the Development of the Preschool Children’s Musical Ability

The paper mainly discusses the development of children's musical ability from three aspects: the ability of children's singing, the ability of rhythm and the ability of music appreciation. It concentrates on the development of the preschool children’s musical ability. With the methods of field survey, logic analysis, and literature review, the paper make the conclusion that the main task of preschool education is to improve the children's perception of music, appreciation and music performance ability. For preschool music teaching, the important things is not only the musical techniques, but also to meet the special spiritual demand. Music education is conducive to the all-round development of human personality, edify sentiment, to establish a positive and optimistic attitude toward life, pay more attention to enhance the humanities accomplishment. Elegant music is an important source of personal perception of aesthetics. Therefore, for the growth sensitive period for young children, multi-faceted and multi-level musical ability training is particularly important. Music is a natural expression of human thoughts and feelings, is the means of emotional catharsis. Music can be defined as specific combinations of sounds to reflect the emotion and the objective reality of a category of art; it is a kind of human spiritual products. Music is composed of organized musical auditory imagery and shape the image expression of emotional and social reality of life, a kind of art form.