Art Experts Research Articles

How a fake Kepler portrait became iconic

For several decades a portrait of Johannes Kepler has been widely circulating among professional astronomers, scientific and academic institutions, and the general public. Despite its provenance and identification having been questioned in the early part of the last century, this painting has reached iconic status. We review its history from its first mention in the literature in the 1870s to a published but virtually unknown judgment of competent art experts of the 1920s that the work is in fact an early nineteenth century forgery. We display the painting in context with other more secure portraits and suggest that if it is based on anything, the painting may derive from the well known portrait from life of Michael M\"astlin. This correction takes on certain urgency since 2021 is the 450th anniversary of Kepler's birth.

The Role of Warhol’s Brillo soap boxes on the Contemporary Aesthetics, based on the “Applied Ontology” Theory of Roger Pouivet

This paper, based on Roger Pouivet’s “applied ontology” theory, studies the effect of Warhol’s Brillo soap boxes, a work that could not convince the art world, when it was first shown, to accept it as an art piece. We strive to answer two questions: In the contemporary age, what aesthetic criteria turn a human-made work into an artwork? And deriving from Pouivete’s “applied ontology” theory, how is a contemporary artwork considered as the personal symbols of the artist and how are the aesthetic characteristics of the work received? An artwork in any style, form and content, includes contextual and formal symbols. In the contemporary age, this becomes a mix of personal symbols and already known collective symbols of a culture that together play a defining role in the creation of the artwork. In other words, a work will be recognized as an artwork when it is the subject of arguments among art experts, even without needing to reach any consensus.

Влияние конструктивизма на дизайн башкирских национальных печатных изданий 20-х – начала 30-х гг. ХХ в.

Introduction. The article discusses the features of Bashkiria’s printed matter as of the 1920s–1930s through the lens of typographics and artistic design. Goals. The work analyzes design patterns, features of font compositions, and identifies the influence of Constructivism on the shaping of their stylistic essentials through specific examples of book covers, magazines, and posters published in the 1920s–1930s in the Republic of Bashkortostan. The authors show how the synthesis of European trends and national traditions of Arabic writing determined the originality of the then Bashkortostan’s graphic designs. Results. The article shows how the ornamental character of Arabic script was transformed into dynamic compositions of covers and title pages characteristic of Constructivism. Conclusions. Nowadays, the public are again trying to outline ways to develop the national book art. Therefore, the experience and traditions from the printing art of early 20th-century Arabic and Cyrillic editions are again in demand. Nobody doubts the significance and greatness of the national cultural heritage, the need to develop it, the need to understand what happened through the prism of national consciousness. The appeals to artistic and aesthetic ideas, creative experiments of the Russian hinterland, traditions that existed in other republics and peoples at the beginning of the 20th century do enrich the history of domestic graphic design. All these together serve sources of inspiration for contemporary art experts, book artists and design practitioners.

Analisis Makna Filosofis Motif Batik Ponorogo Sebagai Upaya Penanaman Pendidikan Karakter

Ponorogo Regency has its own arts and culture which are the characteristics and identity of this Reog City. One example is batik. Batik Ponorogo has a variety of motifs that are unique and different from other regions. Ponorogo batik motifs are diverse, each of which contains a deep philosophical meaning and assumed to have relevance to the values ​​of noble education character. The purpose of this study was describe the values ​​of education character in the philosophical meaning of the Batik Ponorogo motif and to find out the understanding of high school students in Ponorogo Regency about the philosophical meaning of the Ponorogo batik motif on the values ​​of education character. This study used a qualitative descriptive approach with descriptive-analytical analysis techniques. The data was obtained through in-depth interviews with batik art experts about the philosophical meaning of the Batik Ponorogo motif. Meanwhile, the data on the understanding of high school students in Ponorogo Regency regarding the philosophical meaning of batik was obtained through a questionnaire technique as supporting data. Based on the research that has been done by researchers to batik art experts, the Batik Ponorogo motif contains education character values ​​that can be used to strengthen the students’ character. In addition, from the results of the online questionnaire test that the researchers conducted on high school students in Ponorogo Regency, it was found that they were very familiar with the philosophical meanings which contained in each batik Ponorogo motif and its relevance to education character values.
 Keywords: Philosophical Meaning of Batik, Education Character, Motif Batik Ponorogo

Sanat Eğitimi ve Uzmanlık: Bir Göz İzleme Çalışması

The impact of education and expertise in art on the process of examining a work of art has been studied in the present study via eye tracking method. The main purpose of the study was to compare a group of experts and non-experts in art with regard to eye tracking measurements, artwork analyses and recall performance. In this research, expert and non-expert groups were compared in terms of eye tracking measurements, heat maps, artwork analysis and the recall performances. Heat maps were demonstrated that experts viewed Early Renaissance and Fauvism movements, artworks more while non-experts viewed Fauvist artworks more in comparison with AOIs. However, it was indicated that there is no statistically significant difference between the expert and non-expert groups for each artwork about eye metrics and recall performance during art-work analysis. On the other hand, artwork analysis grades of the experts were deter-mined to be higher at a statistically significant level in comparison with the non-experts.

Questions of collecting graphics in the correspondence of fine art experts and artists of the 1920s and 1930s

The article examines the statements about collecting graphics contained in the letters of art historians and artists of the 1920s and 1930s. These sources rarely come to the attention of scientists, many of them have not yet been published. However, they contain extremely interesting information about the artistic life of those years, including how the collections of famous connoisseurs and researchers of graphics were formed, what principles guided the collectors, what materials they preferred. The purpose of the work is to identify the range of issues that were especially often raised in the correspondence of art historians and graphic artists, to clarify their positions on the key problems of collecting. The epistolary heritage of P. Ettinger, E. Gollerbach, A. Sidorov, V. Voinov and their correspondents is analyzed using a complex of source studies, art studies, and comparative-historical methods. The author comes to the following conclusions: private collections of graphics played an important role in the culture of the 1920s and 1930s; the creation of these collections was a natural continuation of the scientific work of the owners. Art historians-collectors sought to acquire works that were not in the museum collections, it was important for them to draw the attention of colleagues to small forms of applied graphics, to the work of the best modern masters of engraving. В статье рассматриваются высказывания о коллекционировании графики, содержащиеся в письмах искусствоведов и художников 1920–1930-х гг. Эти источники нечасто попадают в поле зрения ученых, многие из них до сих пор не опубликованы. Однако в них имеются исключительно интересные сведения о художественной жизни тех лет, в том числе о том, как формировались коллекции известных знатоков и исследователей графики, какими принципами руководствовались собиратели, каким материалам они отдавали предпочтение. Цель работы — выявление круга вопросов, особенно часто поднимавшихся в переписке искусствоведов и графиков, уяснение их позиций по ключевым проблемам коллекционирования. Эпистолярное наследие П.Д. Эттингера, Э.Ф. Голлербаха, А.А. Сидорова, В.В. Воинова и их корреспондентов анализируется с помощью комплекса источниковедческих, искусствоведческих, сравнительно-исторических методов. Автор приходит к следующим выводам: частные собрания графики сыграли важную роль в культуре 1920–1930-х гг.; создание этих коллекций было естественным продолжением научной работы владельцев. Искусствоведы-собиратели стремились приобретать произведения, отсутствующие в музейных фондах, им важно было привлечь внимание коллег к малым формам прикладной графики, к творчеству лучших современных мастеров гравюры.

1950년대 사할린 조선순회극단 연구 - 러시아국립문학예술문서보관소(РГАЛИ) 자료에 기초하여 -

This paper is a research on the formation and early movements of the “Sakhalin Touring Company(Корейский Южно-Сахалинский обла стной передвижной драматический театр)”, organized at Southern Sakhalin in 1948. The file about the Sakhalin Touring Company of the Russian national record center in Moscow is the main source of this article. Records about theater companies during the 1940’s to 50’s are made up of pictures and scripts. Among those, It is hard to find studies about the Sakhalin Touring Company. Therefore, this article was written based on records, not researched, nor opened to the academic world, which gives the paper academic value.<BR> The Sakhalin Touring Company quickly settled and developed due to support and participation of the North Korean, and Russian Korean art experts. In the late 1950’s it became a professional theatrical troupe, performing more than a hundred times a year. Not only Korean traditional plays like 『Hong-Gil-Dong』 or 『Heungbu and Nolbu』, but also original plays like 『The Doctor』 or 『Tiger Swallowtail』 were performed with dramatizations and creations.<BR> The document from the Russian national record center about the Sakhalin Touring Company is now assumed to be obtained by the National Archives of Korea. But, since not even the inventory is open to the public, it is difficult for researchers to access. The documents should be open for advanced research on the Touring Company.

Revisiting Correlations between Real and Imaginary in Space of Surrealism

Main problem: this article deals with the research of surrealism which is not just one of ordinal modernism directions or one of many isms in the art of the 20th century, but which appears as a universal phenomenon in the culture of the epoch, reflecting its main features; surrealism has risen many issues substantive for culture modernity, and resolutions of which are worthy in-depth study. Purpose: to determine the meaning of the unconscious when building a surrealistic world picture and show the relationship and interinfluence of the arts and reality, real and imaginary within the frames defined by surrealism. Methods: the study is based on philosophical and art review of literary and art works performed by surrealists. In various manifestos and works made by surrealism figures it is traced the intention to penetrate into the depth of human psycho using dreams and different mental illnesses. It is known about the enormous impact that the discoveries made in the field of psychoanalysis had on the development of Surrealist philosophy. So, the method of free associations was popular, which was actively used by the Austrian scientist Z. Freud in his medical practice, talking with the patient and analyzing his dreams, the doctor with the help of key symbols revealed the cause of the neurosis, and the surrealists were attracted by the research of the Swiss psychiatrist C. Jung, devoted to the analysis of archetypes and symbols in the lives of various peoples. Results and their importance: practical significance of the study is related to the following circumstances: the necessity to make sense for the reasons of the crisis which encompasses the culture today, the search of possibilities and ways to recover it; u this work’s materials can be also used in research of creations of young Kazakhstan avant-garde artists. The research materials can also be used in the practice of teaching philosophy, cultural science, psychology, and other humanitarian disciplines and also in work of fine art experts and museum staff; based on the materials of this research, the special courses on culture philosophy, culturology, esthetics and theory of arts can be developed.

Supporting a crowd-powered accessible online art gallery for people with visual impairments: a feasibility study

While people with visual impairments are interested in artwork as much as their sighted peers, their experience is limited to few selective artworks that are exhibited at certain museums. To enable people with visual impairments to access and appreciate as many artworks as possible at ease, we propose an online art gallery that allows users to explore different parts of a painting displayed on their touchscreen-based devices while listening to corresponding verbal descriptions of the touched part on the screen. To investigate the scalability of our approach, we first explored if anonymous crowd who may not have expertise in art are capable of providing visual descriptions of artwork as a preliminary study. Then we conducted a user study with 9 participants with visual impairments to explore the potential of our system for independent artwork appreciation by assessing if and how well the system supports 4 steps of Feldman Model of Criticism. The findings suggest that visual descriptions of artworks produced by an anonymous crowd are sufficient for people with visual impairments to interpret and appreciate paintings with their own judgments which is different from existing approaches that focused on delivering descriptions and opinions written by art experts. Based on the lessons learned from the study, we plan to collect visual descriptions of a greater number of artwork and distribute our online art gallery publicly to make more paintings accessible for people with visual impairments.

Nieznane dzieło Pacina di Bonaguidy ze zbiorów prywatnych – przyczynek do badań nad malarstwem florenckiego Trecenta

The paper is aimed at presenting the results of an art expertise of a painting unknown and unpublished until 2018, which was found in private collection. On the basis of these studies, it was concluded that the painting was most likely created by Pacino di Buonaguida, a Florentine painter and illuminator, active between 1303 and 1340. The depicted scene was identified as The Greeting of Saint Proculus by the Pope. The painting may be linked to a retable attributed to Pacino di Buonaguida and placed inside the church of San Procolo, located in Via de’ Giraldo in Florence. This masterpiece constitutes probably a hitherto unknown part of the Legend of Saint Proculus, bishop of Ternia and patron of the church, which belongs to a set of seven representations recognized in the literature so far. All the pieces share the painting style (including characteristic typification of figures and focus on details), iconography, dimensions, technique of execution and framing system. The article also attempts to determine the original location of paintings in the altarpiece, since their shapes and sizes allow for many interpretations and reconstructions. While the most widespread thesis maintains that they formed a predella of the altarpiece, made up of seven scenes, there are indications that the series of the Legend of Saint Proculus was more complex. Assuming the existence of a link between the aforementioned painting and the altarpiece of Saint Proculus in the church of San Procolo in Florence, this work would be the only one created by Pacino di Buonaguida to be found in Polish collections. The identification of an unknown work constitutes an incentive to research the artist’s creation, thus significantly altering the existing recognition of the retable situated in the church of San Procolo and opening up new possibilities for its interpretation.

The picture of the world in the graphic art of the Buryat painter Tsyren-Namzhil Ochirov

The article deals with the artistic heritage of the outstanding Buryat artist Tsyren-Namzhil Ochirov (1920–1987), whose artistic phenomenon is based on the specific combination of the life philosophy, “naive” simplicity of depiction and the poetic love to his motherland called the Tonto Nyutag by the Buryat people. The public interest to his art was raised during the artist’s lifetime. In the early 1970s, several articles dedicated to his art were released in local newspapers. His unique artistic manner was studied by a group of young amateur artists who were members of the Republican Center of Amateur and Folk Arts in Ulan-Ude. Serious research work on his rich artistic heritage conducted by art critics and scholars started after his death. In the late 1980s and the early 1990s Svetlana Tsybiktarova, the art critic and the science assistant of the Khangalov Historical Museum in Ulan-Ude, together with her elder colleague from Leningrad Natalya Iofan, released the article entitled “The artist from Mogsokhon”. The name of Tsyren-Namzhil Ochirov was introduced to the world of art experts for the very first time. The authors revealed the correlation between his art and the traditional Buddhist painting. Tatyana Boronoeva in her monography “Graphic art in Buryatia” made a partial analysis of Tsyren-Namzhil Ochirov’s art in the chapter “Art of self-taught painters and the problem of ethnicity in the Buryat graphics”. Larisa Nikolaeva in the article entitled “The art system of the Buryat amateur painter Tsyren-Namzhil Ochirov (1920–1987)” shared with readers some interesting facts from his life. In her article, she also underlined some similar features of the traditional Buddhist painting in his art. In 2019, the year prior to the 100-th anniversary of the artist, the family of Tsyren-Namzhil Ochirov published an album of his graphic works. The content of the album was compiled by his granddaughter S. Tarnueva. One hundred and fifty drawings were selected from the family archive and were introduced to the wide public. The rich art heritage of Tsyren-Namzhil Ochirov numbering about five hundred works includes thirty manuscripts and wooden items of the decorative and applied art. The author of the current article makes an analysis of the graphic works of Tsyren-Namzhil Ochirov from the funds of the National Museum of the Republic of Buryatia and from the private collection of the artist’s family. Of a great importance for the author of the article is the definition of his art’s origin, which is, on the one hand, derived from the traditional Buddhist painting, and, “the Buryat Zurag” on the other. The latter is the painting created in a specific artistic manner that reflects the world perception of the Buryat people. For the better description of the topic, the author publishes the conversations with the daughter of the artist Roza Tsyrenovna, with the painter Alexander Moskvitin, his close friend and the speech of the Buryat artist Zandan Dugarov at the event Round Table dedicated to Tsyren-Namzhil Ochirov’s art in 2016. The author of the article uses artistic methods and elements of the historic approach as the complex tool in her research work. Статья посвящена творчеству выдающегося художника Цырен-Намжила Очирова (1920–1987), чей феномен заключается в своеобразном синтезе народной философии, «наивной» простоты графического изображения и возвышенной любви к своей малой родине «тоонто нютаг». Факты биографии буддийского самодеятельного художника, близость его творчества буддийскому наследию установлены в исследованиях 1980–1990-х годов, а в 2019 году впервые опубликовано около 150 произведений Очирова из личных архивов семьи. В настоящей статье представлен впервые проведенный анализ графического наследия Ц.-Н. Очирова на основе материалов из фондов Национального музея Республики Бурятия, а также частной коллекции из семьи художника. Определены истоки творчества мастера, связи с традицией буддийской графики, бурятским мировоззрением, стилем «буряад зураг». Автор впервые приводит материалы личных бесед с членами семьи и коллегами художника. В исследовании использован комплекс искусствоведческих методов и элементы историко-описательного метода.

Aesthetic Preference for Glossy Materials: An Attempted Replication and Extension.

The psychology of art and aesthetics has a long-standing interest in how low-level features, such as symmetry, curvature, and color, affect people’s aesthetic experience. Recent research in this tradition suggests that people find glossy, shiny objects and materials more attractive than flat, matte ones. The present experiment sought to replicate and extend research on the attractiveness of images printed on glossy and flat paper. To control for several possible confounding factors, glossiness was manipulated between-person and varied with methods that held constant factors like weight, color quality, and resolution. To extend past work, we explored art expertise and Openness to Experience as potential moderators. A sample of 100 adults viewed landscape photographs on either high-gloss photo paper or on identical paper in which a flat, matte spray finish had been applied. Ratings of attractiveness showed weak evidence for replication. People rated the glossy pictures as more attractive than the matte ones, but the effect size was small (d = −0.23 [−0.62, 0.16]) and not statistically significant. Attractiveness ratings were significantly moderated, however, by individual differences in the aesthetic appreciation facet of Openness to Experience. When aesthetic appreciation was high, people found the images attractive regardless of condition; when it was low, people strongly preferred the glossy images over the matte ones, thus showing the classic glossiness effect. We conclude with some methodological caveats for future research.

How Do Art Skills Influence Visual Search? - Eye Movements Analyzed With Hidden Markov Models.

The results of two experiments are analyzed to find out how artistic expertise influences visual search. Experiment I comprised survey data of 1,065 students on self-reported visual memory skills and their ability to find three targets in four images of artwork. Experiment II comprised eye movement data of 50 Visual Literacy (VL) experts and non-experts whose eye movements during visual search were analyzed for nine images of artwork as an external validation of the assessment tasks performed in Sample I. No time constraint was set for completion of the visual search task. A latent profile analysis revealed four typical solution patterns for the students in Sample I, including a mainstream group, a group that completes easy images fast and difficult images slowly, a fast and erroneous group, and a slow working student group, depending on task completion time and on the probability of finding all three targets. Eidetic memory, performance in art education and visual imagination as self-reported visual skills have significant impact on latent class membership probability. We present a hidden Markov model (HMM) approach to uncover underlying regions of attraction that result from visual search eye-movement behavior in Experiment II. VL experts and non-experts did not significantly differ in task time and number of targets found but they did differ in their visual search process: compared to non-experts, experts showed greater precision in fixating specific prime and target regions, assessed through hidden state fixation overlap. Exploratory analysis of HMMs revealed differences between experts and non-experts in image locations of attraction (HMM states). Experts seem to focus their attention on smaller image parts whereas non-experts used wider parts of the image during their search. Differences between experts and non-experts depend on the relative saliency of targets embedded in images. HMMs can determine the effect of expertise on exploratory eye movements executed during visual search tasks. Further research on HMMs and art expertise is required to confirm exploratory results.

Multifunctional Performance of Coastal Structures Based on South Florida Coastal Environs

Sealey, K.S.; Andiroglu, E.; Lamere, J.; Sobczak, J., and Suraneni, P., 2021. Multifunctional performance of coastal structures based on South Florida coastal environs. Journal of Coastal Research, 37(3), 656–669. Coconut Creek (Florida), ISSN 0749-0208.Coastal communities around the globe are facing the related challenges of sea-level rise, more frequent and extreme storm events, and deteriorating coastal water quality. A multidisciplinary research team with expertise in architecture, ecology, economics, engineering, design, and public art surveyed existing coastal structures to elucidate criteria for a multifunctional performance assessment of these structures in South Florida. Eight coastal survey sites were evaluated to understand their function. Two key variables that affect the coastal structure function are the spatial extent of the structure and the age of the structure. The functional performance was ranked as poor, fair, or good based on (1) ecological functionality (rugosity, minimization of pollution, and coastal plant diversity), (2) engineering functionality (storm, wave, and flood resilience and affordability), and (3) stakeholder functionality (waterfront access, views, and wildlife views). These aspects of functionality were equally weighted to evaluate the impact of each component on the coastal environs. Generally, coastal structure design considers primarily engineering functionality, and these designs consequently have poor ecological functionality. Multifunctionality improved with the horizontal extent of the structure, the occurrence of coastal plants in a buffer zone, and increased public access and use.

Of Unknown Men: Rembrandt or Not? A South African Provenance Story

The artist Rembrandt van Rijn (1606–1669) is a highly regarded master of the Dutch Golden Age, and consequently the subject of extensive international research. Museums worldwide give him pride of place in their collections. Given the artist’s established prominence it is therefore shocking that in the last fifty years researchers have been able to successfully challenge the status of hundreds of artworks previously considered authentic. Added now to these challenges is a small unsigned portrait of an old bearded man in the University of Pretoria Museums. In 2016 this painting formed part of a pilot study investigating the provenance and authenticity of the J. A. van Tilburg Collection, donated to the university in 1980. Although international experts had attributed the portrait to Rembrandt since the 1890s, this article presents contradictory research that raises significant issues regarding these authentication processes and highlights the current position of considered art experts in such processes. Exploring the provenance of the painting and using the conclusions drawn from technical analysis, we show it is clear the painting in the University of Pretoria collection is not a Rembrandt.

INTERPRETATION OF SOVIET REALITIES IN THE ENGLISH-LANGUAGE CRITICAL ART DISCOURSE

The article provides the results of the study which aims to reveal the ideas about the Soviet state in the English-language critical art discourse. Taking into account the high level of ideologization of Soviet fine arts, Englishlanguage critics tend to interpret Soviet realities and give their own individual assessments of them. The study deals with discourse fragments containing evaluative statements and linguistic objectifications of interpretation of Soviet facts of life. The article aims to identify individual modes of interpretation of the Soviet political order, art – state relations and the peculiarities of national mentality and is carried out on the borderline between the cognitive, culturological and discursive approaches. The paper presents an algorithm of exploration and description of the categorial structure called by the author “interpretive block” which is viewed upon as a part of the cognitive space which fixes the process and the results of interpretation of certain real phenomena. The paper analyzes interpretive blocks which represent the ideas about the Soviet state apparatus, social stratification, and social opportunities. The study reveals that English-language critical art experts often consider Soviet realities in comparison with the social organization of western society and give it a negative assessment. The state is treated as a structure similar to the Sicilian mafia practicing methods of manipulation and intimidation on the territory which is under its control. In relation to the sphere of arts, the state is considered the dominant management authority which acts as a patron and establishes the relations with its clients based on censorship. At the same time, some positively evaluated social phenomena are mentioned, for instance, the education system which is considered a model for other countries. The results and the research materials can be used by cognitive linguistics, political linguistics and linguoculturology.

ЯЗЫКОВАЯ РЕПРЕЗЕНТАЦИЯ МЕЖКУЛЬТУРНЫХ ОТНОШЕНИЙ В АНГЛОЯЗЫЧНОМ ДИСКУРСЕ, ПОСВЯЩЕННОМ СОВЕТСКОМУ ИЗОБРАЗИТЕЛЬНОМУ ИСКУССТВУ ПЕРИОДА «ОТТЕПЕЛИ»

The article deals with language representation of the Soviet Union and Western countries intercultural relations in fine arts, reflected in modern Anglophone art discourse. The investigation focuses on the peculiarities used to convey in art critical discourse socio-political concepts, representing cognitive contexts, specific patterns of socio-cultural knowledge, as well as linguistic representation of “Self vs Other” opposition, embedded in cultural interaction in art. A comprehensive lexical, semantic, contextual, linguistic, and cognitive analysis of international art criticism made it possible to reveal that the Cold War and cultural integration are the two overarching cognitive contexts that shape the comprehension and evaluative interpretation of intercultural relations between the Soviet Union and Western countries of the 1950s-1960s. These cognitive contexts underlie the choice of language means used by an art expert to characterize intercultural relations in fine arts. The analysis demonstrates that in Anglophone art criticism these contexts provide an eventive framework. The binary “Self vs Other” opposition can be conveyed in an art history text at different levels, showing its dynamics and in some cases involving a stepwise “Other” to “Self” transformation.

중국의 유아미술 전문가가 인식하는 유아미술 창의성의 발현요인 연구: 델파이기법을 활용하여

본 연구는 중국의 유아미술 전문가들이 인식하는 유아미술 창의성 발현요인을 탐구하는데 목적이 있다. 연구의 목적을 달성하기 위해 15명의 중국 유아미술 교육전문가를 대상으로 델파이조사를 실시하였다. 총 3차를 걸쳐 진행되었으며, 1차 델파이조사를 통해 전문가의 의견을 수렴하여 2개 영역(개인적 특성, 환경적 특성), 9개 요인(상상력, 호기심, 경험, 유전적 요인, 관찰력, 집중력, 자유로운 환경, 재료, 교육자의 예술적 소양)으로 범주화하였다. 2, 3차의 델파이조사를 통해 분석결과, 개인적 특성 영역에는 상상력, 호기심, 경험, 관찰력, 집중력이 유아미술 창의성 발현의 중요한 요인이며, 환경적 특성 영역에서는 자유로운 환경, 교육자의 예술적 소양이 유아미술 창의성 발현의 중요한 요인으로 나타났다. 이러한 연구결과는 향후 중국 유아미술 창의성 관련 연구를 확장하는데 기초자료로 제공해 줄 것으로 기대해 본다.

A New Study on the Contemporary Aesthetics based on the “Applied Ontology” Theory of Roger Pouivet

This article, based on Roger Pouivet’s “Applied Ontology” Theory, studies the effect of Warhol’s Brilloo soap boxes. The work was challenged at the time of its performance and could not convince the art world of accepting it, as an artwork. The research questions of this article are: 1. In the contemporary period, what aesthetic criteria turn a human work into an artwork? 2. According to Pouivete’s “Applied Ontology” Theory, how and with what approach is contemporary work of art considered as the personal symbolism of the artist and how is the governing aesthetics read? The hypothesis of the article is that the work of art in any way includes formal and content symbolism. Basically, in the contemporary period, the artist’s personal symbolism plays a finishing role in the creation of the artwork by mixing with already known collective symbols in a culture. The result suggests that in Contemporary Aesthetics, a work is recognized as a work of art when it is debated and exchanged without the need for consensus among art experts. The research method of this article is analytical-qualitative which has been done by collecting library information and virtual documents.

Dijital Görüntüler Kullanılarak Kan Grubunun Görüntü İşleme Tabanlı Tespiti

Blood grouping is the first and most important requirement for most basic medical procedures. The expert in the conventional art used to detect blood type monitors the color and shape change in the blood by mixing anti-serum substance into the blood sample and determines the blood group and Rh factor. This is done by the expert throughout the day and is open to errors due to tiredness and oversight. In this study, it was aimed to determine blood group automatically by using image processing techniques. For this purpose, a series of image processing techniques have been applied on digital images of real patient blood. After the blood samples were divided into three parts, firstly RGB-Gray level-Black/White conversion was performed. Subsequently, morphological procedures were performed, and the blood region was segmented and border lines were marked. In the last stage, the white pixel density, the number of objects in the region, and the number of edge pixels were determined and blood group and Rh factor were determined.