Real Artworks Research Articles

Yaratıcı Yazarlık ve Günümüz Türk Öyküsü

The artistic productions that have arised since the time of the first human beings due to the continual “act of creation”, could be said to be both in and out of the practical world. While the artist keeps his creative effort for the change of the nature and formation of a humanitarian environment, he comprehends that he is also one of the original parts of the nature too. His comprehension of himself leads him to comprehend that others are unique too; therefore, while telling about himself and his own environment, he also tells and interprets others; so that he is socialized. This process has provided the transition from “working human” to “creating human”. Creativity that has reached its peak by the Revolution of Enlightenment, has started to be obstructed by Globalization which is being imposed to all of the world since 1980 . “Postmodernism” that has been marketed parallel to the political approaches for annihilating the individual, creativity and socialization of the individual, has blocked creativity in order to obstruct the human from becoming free, leading the society, producing real works of art and in order to maintain the domination of popularity. Literature has been one of the most affected fields of creation by this unfavorable process. Particularly literary “act of creativity” has been degenerated in the name of “creative authorship courses” and has been reduced to the worthless level of simple, ordinary, primitive “act of writing”. While this process is maintained consciously in a certain programme by imperialism, just as our lives, the content of literature has been emptied, the language has been degenerated, and worthless relationships, sexuality in the level of phornography, and bedroom relationships has been the basic material of literature. In our literature, mostly novel and story was wounded by this reverse evolution. Especially it is the story that has turned into something ordinary, simple, and coarse. Turkish story that had ascended to its peak in 1950-60’s and has taken its place in our classics by continuing its development until 1980, presently has bottomed out, but it also contains its own resurrection reasons in itself. Like our life standards and the relationships that settle these standards, our literature and our story -in it- will soon arise again.

Das Ende der Reichskirche in der großen Säkularisation 1803

SUMMARY The German language has Säkularisation as meaning the transfer of persons and material goods from the ecclesiastical to the secular domain—not the mental process which alienated men from religion (Säkularisierung), itself of course closely connected to Säkularisation. As in other European countries, secularization of material goods happened in the Holy Roman Empire as a consequence of the Reformation and to a greater extent of the French Revolution and the Napoleonic wars. Several peace treaties and an imperial law, the so-called Reichsdeputationshauptschluss of 1803, distributed almost all Church property, including the sovereign rights of ecclesiastical princes, to secular territories that had lost property and rights on the left bank of the Rhine to France. Apart from many minor territories which benefited, Prussia and Bavaria profited most by winning territorial rights from the ecclesiastical princes, and real estate and numerous works of art from the monks and nuns. Procedure differed in those areas under French law from those under the German secular princes, but everywhere the winners were the treasuries, which used the newly acquired riches mainly for military purposes; the losers were the weaker parts of society and cultural treasures. The year 1803 marked not only the suppression of many monasteries, but the end of ecclesiastical estates in the imperial diet (the Emperor Francis II abdicated only three years later) as well as of the estates in those German territories which had, longer than any other European countries, preserved these institutions from the Middle Ages to the beginning of the nineteenth century.

A Support System for Designing Coloration with Mixed Reality Display

An artistic working sometimes makes unexpected and great works of art due to sensitivity interaction with another artist. We focus on designing coloration, and creating a new artistic support system which enhances the synergy effect in a cooperative interaction with a computer. First, we define a psychological model for designer's synergetic process, and we clear users' behaviors referring to other's coloration. Then, we construct an intelligent support system based on this model, which displays efficient and inspiring reference images for user's idea on a mixed reality display. It provides a virtual coloration on a real art works and combines them in mixed reality space without special head gears disturbing the art working. The proposed system expects that it helps to give rise to synergy effects of users by themselves.

New applications of Scanning Laser Doppler Vibrometry (SLDV) to non-destructive diagnostics of artworks: mosaics, ceramics, inlaid wood and easel painting

There exist many analytical methodologies and techniques to individuate the physical and chemical characteristics of artworks, but at present, their structural diagnostics mainly rely on the expertise of the restorer and the typical diagnostic process is accomplished mainly through manual and visual inspection of the object surface 〚1〛. The basic idea behind the proposed technique is to substitute human senses with measurement instruments: surfaces are very slightly vibrated by mechanical actuators, while a laser Doppler vibrometer scans the objects measuring surface velocity and producing velocity amplitude and phase two-dimensional (2D) or 3D maps. Where a defect occurs velocity is higher than neighbouring areas, so defects can be easily spotted. Laser vibrometers also identify structural resonance frequencies thus leading to a complete characterisation of defects. This work will present the most recent results coming out of the application of scanning laser Doppler vibrometry (SLDV) to different types of artworks: mosaics, ceramics, inlaid wood and easel painting. Real artworks and samples realised on purpose have been studied using the proposed technique and different measuring issues resulting from each artwork category will be described.

Soft and hard modelling methods for deconvolution of mixtures of Raman spectra for pigment analysis. A qualitative and quantitative approach

Raman spectroscopy provides a means for the detection and identification of pictorial materials on artworks. As a non-destructive, applicable in situ and non-ambiguous technique, it is one of the most preferred to analyse the pigmentation of any kind of artwork: from paintings [1] and papyrus [2] to polychromes on woods [3]. A common problem, however, is lack of spatial resolution on some systems due to large focal distances, which degrades the theoretical high resolution of the system, which involves the resolution of mixtures of individual Raman spectra. In this work, we will present the advantages and disadvantages of two methods for the separation of mixtures of Raman spectra [4,5], and we present a new solution to overcome the problems of the above. To such an end, we will provide qualitative (identification of the species) and quantitative (determine their concentration profiles) results of the methods. The experimental analyses have been carried out in two steps: first we calibrate the methods with known mixtures of two compounds prepared in the laboratory. Second, we test the methods with a real artwork supposed to be from ‘El Greco’. Procedures to minimise problems, such as extreme fluorescence and noise, that arise on real artworks are also presented.

Non-invasive measurements of damage of frescoes paintings and icon by laser scanning vibrometer: experimental results on artificial samples and real works of art

Frescoes and icons show analogies in terms of defects, both present layer-to-layer detachments and delaminations and surface cracks; the aim of this work is to develop a diagnostic system for the measurement of the defects’ position and size. After initial measurement set-ups based on accelerometers and impact hammers a novel system based on laser vibrometers and acoustic stimulation of structures to allow full remote and contactless investigation of detachments and delaminations has been developed. This paper presents a measurement procedure based on two subsequent scans of the work of art: the first scan aims at finding the defects’ positions, the second one characterizes their resonant response. A new kind of exciter, namely piezo actuators, has been introduced in the measurement chain and its effectiveness in finding defects in icons will be demonstrated. In situ measurements on real frescoes have been performed in Senigallia (near Ancona) and Orvieto to assess the proposed technique and a sample of the obtained results will be presented.

Evaluative and skin-conductance responses to Renaissance and 20th-century paintings

Normative data on paintings from two periods are reported. Subjects rated the pleasingness and interestingness of 60 Renaissance and 60 20th-century (abstract) works, and indicated how much they wished to own a reproduction of each painting. Skin-conductance changes elicited by the paintings were also assessed. The data may facilitate the inclusion of real works of art in future experiments involving visual aesthetic materials (on either the independent- or the dependent-variable side) and are relevant for the research on some motivational and cognitive issues of current interest in the psychology of art.