Hasil untuk "History of the arts"

Dejan Grba

AI art comprises a spectrum of creative endeavors that emerge from and respond to the development of artificial intelligence (AI), the expansion of AI-powered economies, and their influence on culture and society. Within this repertoire, the relationship between the cognitive value of human vision and the wide application range of computer vision (CV) technologies opens a sizeable space for exploring the problematic sociopolitical aspects of automated inference and decision-making in modern AI. In this paper, I examine the art practices critically engaged with the notions and protocols of CV. After identifying and contextualizing the CV-related tactical AI art, I discuss the features of exemplar artworks in four interrelated subject areas. Their topical imbrications, common critical points, and shared pitfalls plot a wider landscape of tactical AI art, allowing me to detect factors that affect its poetic cogency, social responsibility, and political impact, some of which exist in the theoretical premises of digital art activism. Along these lines, I outline the routes for addressing the challenges and advancing the field.

Dejan Grba

In this paper, I take the cultural effects of generative artificial intelligence (generative AI) as a context for examining a broader perspective of AI's impact on contemporary art notions. After the introductory overview of generative AI, I summarize the distinct but often confused aspects of art notions and review the principal lines in which AI influences them: the strategic normalization of AI through art, the representation of AI art in the artworld, academia, and AI research, and the mutual permeability of art and kitsch in the digital culture. I connect these notional factors with the conceptual and ideological substrate of the computer science and AI industry, which blends the machinic agency fetishism, the equalization of computers and humans, the sociotechnical blindness, and cyberlibertarianism. The overtones of alienation, sociopathy, and misanthropy in the disparate but somehow coalescing philosophical premises, technical ideas, and political views in this substrate remain underexposed in AI studies so, in the closing discussion, I outline their manifestations in generative AI and introduce several viewpoints for a further critique of AI's cultural zeitgeist. They add a touch of skepticism to pondering how technological trends change our understanding of art and in which directions they stir its social, economic, and political roles.

Vidya Venkatesan, Aomawa L. Shields, Russell Deitrick et al.

Eccentric planets may spend a significant portion of their orbits at large distances from their host stars, where low temperatures can cause atmospheric CO2 to condense out onto the surface, similar to the polar ice caps on Mars. The radiative effects on the climates of these planets throughout their orbits would depend on the wavelength-dependent albedo of surface CO2 ice that may accumulate at or near apoastron and vary according to the spectral energy distribution of the host star. To explore these possible effects, we incorporated a CO2 ice-albedo parameterization into a one-dimensional energy balance climate model. With the inclusion of this parameterization, our simulations demonstrated that F-dwarf planets require 29% more orbit-averaged flux to thaw out of global water ice cover compared with simulations that solely use a traditional pure water ice-albedo parameterization. When no eccentricity is assumed, and host stars are varied, F-dwarf planets with higher bond albedos relative to their M-dwarf planet counterparts require 30% more orbit-averaged flux to exit a water snowball state. Additionally, the intense heat experienced at periastron aids eccentric planets in exiting a snowball state with a smaller increase in instellation compared with planets on circular orbits; this enables eccentric planets to exhibit warmer conditions along a broad range of instellation. This study emphasizes the significance of incorporating an albedo parameterization for the formation of CO2 ice into climate models to accurately assess the habitability of eccentric planets, as we show that, even at moderate eccentricities, planets with Earth-like atmospheres can reach surface temperatures cold enough for the condensation of CO2 onto their surfaces, as can planets receiving low amounts of instellation on circular orbits.

Howard Riley

Abstract:Every doctoral thesis requires contextualization within its specific discipline's theoretical bases. For a visual arts practice-based thesis, the relevant bases include those of aesthetics and visual perception. This article reviews a Western history of the domain of visual aesthetic theory, addressing both the analytical philosophical efforts to define art and the continental approaches, which construe art as social construction. It then reviews a third, normative stance that foregrounds cognitive value before definition or sociological context—an aesthetic cognitivist position, art practice as a means of acquiring and sharing experiential knowledge and understanding. Contemporary concerns about environmental aesthetics and somaesthetics are also addressed in the Introduction. Aesthetic theories are related to visual perception theories as an aid to fulfilling the scholarly requirements for a practice-based thesis.

Glenn Eilif Solmoe

Abstract The use of martial arts in Japan’s cultural diplomacy, as well as the history of Japanese martial arts in Norway, remain underexplored. Despite its peripheral status in Japan’s cultural diplomacy, Japan actively influenced Norwegian judo from 1945 to 1980 by dispatching instructors and ‘goodwill’ judo delegations to Europe. These visits aimed not only to promote judo but also to align the international development of judo with Japan’s own martial arts discourse and cultural diplomacy strategies. In 1965 and 1968 the delegations worked to cement judo’s status as a modern Olympic sport while reinforcing the image of ‘New Japan’ – a nation that is peaceful, democratic and economically strong. In 1979 and 1980 similar delegations sought to secure a Japanese presidency in the International Judo Federation, while highlighting judo’s traditional cultural roots as a form of self-defence and character development. This discursive shift paralleled Japan’s economic rise and the growth of nihonjinron – a discourse affirming Japan’s unique culture. The Norwegian judo community adopted the sports discourse, but largely rejected the orientalised nihonjinron discourse.

Robert van Leeuwen

The early history of string theory is marked by a shift from strong interaction physics to quantum gravity. The first string models and associated theoretical framework were formulated in the late 1960s and early 1970s in the context of the S-matrix program for the strong interactions. In the mid-1970s, the models were reinterpreted as a potential theory unifying the four fundamental forces. This paper provides a historical analysis of how string theory was developed out of S-matrix physics, aiming to clarify how modern string theory, as a theory detached from experimental data, grew out of an S-matrix program that was strongly dependent upon observable quantities. Surprisingly, the theoretical practice of physicists already turned away from experiment before string theory was recast as a potential unified quantum gravity theory. With the formulation of dual resonance models (the "hadronic string theory"), physicists were able to determine almost all of the models' parameters on the basis of theoretical reasoning. It was this commitment to "non-arbitrariness", i.e., a lack of free parameters in the theory, that initially drove string theorists away from experimental input, and not the practical inaccessibility of experimental data in the context of quantum gravity physics. This is an important observation when assessing the role of experimental data in string theory.

Ivan Rinaldi, Nicola Fanelli, Giovanna Castellano et al.

Artificial Intelligence and generative models have revolutionized music creation, with many models leveraging textual or visual prompts for guidance. However, existing image-to-music models are limited to simple images, lacking the capability to generate music from complex digitized artworks. To address this gap, we introduce $\mathcal{A}\textit{rt2}\mathcal{M}\textit{us}$, a novel model designed to create music from digitized artworks or text inputs. $\mathcal{A}\textit{rt2}\mathcal{M}\textit{us}$ extends the AudioLDM~2 architecture, a text-to-audio model, and employs our newly curated datasets, created via ImageBind, which pair digitized artworks with music. Experimental results demonstrate that $\mathcal{A}\textit{rt2}\mathcal{M}\textit{us}$ can generate music that resonates with the input stimuli. These findings suggest promising applications in multimedia art, interactive installations, and AI-driven creative tools.

Theerawat Klaokliang, Kanit Sripaoraya

This paper aims to examine the literary strategies and political perspectives of Somnuek Chusil, a renowned Nora artist in the Southern Thai region. Contrast to recent international and Thai research on Nora dance that focused on the aspect of ritual, social function, and adaptation under the condition of global modernity, the authors’ analysis centers on the noted Nora artist’s lyrical composition, encompassing 40 of lyrics, to understand his political worldview and literary strategy as part of local experience to the changing of Thai society. The findings reveal four language strategies employed by Somnuek—simile, hyperbole, the use of idioms, and incorporation of the Southern Thai dialect. Of particular note is the dialect’s distinctive role in critiquing political figures and instilling a sense of awareness regarding rights, freedom, and democratic citizenship. Despite the diverse interpretations of political concepts in global academia, Somnuek skillfully harnesses various dialects and writing techniques making him being locally competent interlocutor, and ascending to the status of a famous folk artist in southern Thailand.

Leonardo Acone

This essay aims to emphasize the importance of investigating the pedagogical dimension of literature, reading, writing, images, and other narrative arts within the framework of a possible pedagogy of narration. This field of study is growing, with the emergence of new teachings, new research paths, and the establishment of new academic positions within Italian universities. For there to be a “pedagogy of narration”, it is essential that the analysis of what is narrated, read, heard, or observed focuses on the educational essence that emanates from narratives. This is not about answering the simple question of what a particular text can or cannot teach, but rather about identifying a successful formula that combines artistic/literary value, historical/testimonial significance, and educational persistence with scientific and epistemological coherence. This would allow the connection between the pedagogy of history, the pedagogy of memory, and, more broadly, the pedagogy of narration.

Autillia C. Phiri, T. Velmurugan

Accessing clean and pure water is a crisis for women and families all over the world. Without the proper resources to receive water can lead to the fatality of women and their families. This paper explores water scarcity and household coping mechanisms to water scarcity with special reference to women households in Chidothe village. It identifies the sources of water in Chidothe village, understands the challenges faced by women in fetching water and explores household coping mechanisms to water scarcity with the purpose of raising awareness to the community’s situation. Although the water supply system was expanded in 2001, many areas including Chidothe village are still experiencing water problems. In the past years’ researchers and policy makers have focused on improving the performance of water utility infrastructure in order to eliminate this threat. However, little efforts have been made to understand social issues to water shortage and how people respond to them. Data gathering methods were individual interviews and focus group discussions. All interviews were audio recorded. The data was processed manually and analyzed thematically. The results were analyzed through insights and arguments from Feminist Political Ecology (FPE). The study reveals that women and girls in Chidothe Village have a greater responsibility to fetch water, are facing challenges to access portable water such as lack of money to connect to tap water, the absence of water kiosks in the village further worsens the problem and circumstances force them to draw water from unsafe sources, hence, exposing themselves to diseases. The results imply that there is an urgent need to address water supply systems in order to prevent people from water borne diseases. The study concludes that there is need to incorporate women in decision making to articulate their concerns and interests at local level and also water aid stakeholders should use gender sensitive approaches when planning, designing and implementing water projects.

Adam Falatovics, Katalin Szikora

Abstract Japan, home of modern combat sports, had a great influence on Hungarian martial arts. The early appearance of judo in 1906 contributed directly and indirectly to the creation of the Hungarian martial arts culture and combat sports systems. Although judo developed very slowly, it reached prominence at the end of 1960s. Thus, Hungarian combat sports culture was able to connect into international martial arts development when the ‘great boom’ of the Japanese martial arts happened. Judo clubs and dojos emerged and the judo federation as the base for the Hungarian development of Japanese martial arts such as karate, jiu-jitsu and aikido. Most martial arts have similar paths of development; therefore it is important to highlight the history of the oldest martial art, judo. The journey of judo can give direction to emerging modern sports.

Andrii Voshchepynets, Oleksiy Agapitov, Lynn Wilson et al.

We present the results of processing the effects of the powerful Gamma Ray Burst GRB221009A captured by the charged particle detectors (electrostatic analyzers and solid-state detectors) onboard spacecraft at different points in the heliosphere on October 9, 2022. To follow the GRB221009A propagation through the heliosphere we used the electron and proton flux measurements from solar missions Solar Orbiter and STEREO-A; Earth magnetosphere and the solar wind missions THEMIS and Wind; meteorological satellites POES15, POES19, MetOp3; and MAVEN - a NASA mission orbiting Mars. GRB221009A had a structure of four bursts: less intense Pulse 1 - the triggering impulse - was detected by gamma-ray observatories at 131659 UT (near the Earth); the most intense Pulses 2 and 3 were detected on board all the spacecraft from the list, and Pulse 4 detected in more than 500 s after Pulse 1. Due to their different scientific objectives, the spacecraft, which data was used in this study, were separated by more than 1 AU (Solar Orbiter and MAVEN). This enabled tracking GRB221009A as it was propagating across the heliosphere. STEREO-A was the first to register Pulse 2 and 3 of the GRB, almost 100 seconds before their detection by spacecraft in the vicinity of Earth. MAVEN detected GRB221009A Pulses 2, 3, and 4 at the orbit of Mars about 237 seconds after their detection near Earth. By processing the time delays observed we show that the source location of the GRB221009A was at RA 288.5 degrees, Dec 18.5 degrees (J2000) with an error cone of 2 degrees

Hans-E. Porst

Not only motivated by the fact that the publication of the GAFT first appeared 60 years ago in print we reconstruct its history and so show that it is no exaggeration to claim that it has appeared already 75 years ago!

Nick Bryan-Kinns, Courtney N. Reed

Evaluation is essential to understanding the value that digital creativity brings to people's experience, for example in terms of their enjoyment, creativity, and engagement. There is a substantial body of research on how to design and evaluate interactive arts and digital creativity applications. There is also extensive Human-Computer Interaction (HCI) literature on how to evaluate user interfaces and user experiences. However, it can be difficult for artists, practitioners, and researchers to navigate such a broad and disparate collection of materials when considering how to evaluate technology they create that is at the intersection of art and interaction. This chapter provides a guide to designing robust user studies of creative applications at the intersection of art, technology and interaction, which we refer to as Media and Arts Technology (MAT). We break MAT studies down into two main kinds: proof-of-concept and comparative studies. As MAT studies are exploratory in nature, their evaluation requires the collection and analysis of both qualitative data such as free text questionnaire responses, interviews, and observations, and also quantitative data such as questionnaires, number of interactions, and length of time spent interacting. This chapter draws on over 15 years of experience of designing and evaluating novel interactive systems to provide a concrete template on how to structure a study to evaluate MATs that is both rigorous and repeatable, and how to report study results that are publishable and accessible to a wide readership in art and science communities alike.

Leonardo Impett, Fabian Offert

In this paper, we revisit Johanna Drucker's question, "Is there a digital art history?" -- posed exactly a decade ago -- in the light of the emergence of large-scale, transformer-based vision models. While more traditional types of neural networks have long been part of digital art history, and digital humanities projects have recently begun to use transformer models, their epistemic implications and methodological affordances have not yet been systematically analyzed. We focus our analysis on two main aspects that, together, seem to suggest a coming paradigm shift towards a "digital" art history in Drucker's sense. On the one hand, the visual-cultural repertoire newly encoded in large-scale vision models has an outsized effect on digital art history. The inclusion of significant numbers of non-photographic images allows for the extraction and automation of different forms of visual logics. Large-scale vision models have "seen" large parts of the Western visual canon mediated by Net visual culture, and they continuously solidify and concretize this canon through their already widespread application in all aspects of digital life. On the other hand, based on two technical case studies of utilizing a contemporary large-scale visual model to investigate basic questions from the fields of art history and urbanism, we suggest that such systems require a new critical methodology that takes into account the epistemic entanglement of a model and its applications. This new methodology reads its corpora through a neural model's training data, and vice versa: the visual ideologies of research datasets and training datasets become entangled.

Hamida Beg , Muhammad Ferdowsieh, Fatemeh Hosseini

رغم وضوح أهمية صحة الإنسان، إلا أننا نجد مسألة إضراربنفس قد انتشرت بشكل واسع، والتي يعتبرها البعض جائزة بناء على حكم الملكية وكون الإنسان له الحق في ذاته. السؤال الأساسي الذي يطرحه المقال في مجال إضراربنفس هو الحكم الديني على مختلف المستويات الذي استنتجه فقهاء الإمامية بالأدلة العقلية والنقلية. قد توصل هذا البحث الذي كتب بطريقة توصيفية تحليلية إلى النتائج التالية: إضراربنفس درجات تشمل الانتحار، والبتر، وفقدان إحدى الحواس، والتعرض للمرض، والضرر البسيط، والإهانة. يحرم القتل بالآيات والأحاديث وعقلا. إلا إذا كان للدفاع عن النفس أو الجهاد وبإذن الولي. كما تحرم الشريعة البتر, لأنه يعرض الإنسان للهلاك ما لم يكن لذلك سبب منطقي وطبي. أما المستويات الأخرى فهناك اختلاف بين الفقهاء عليها.

Higor Y. D. Sigaki, M. Perc, H. V. Ribeiro

Significance The critical inquiry of paintings is essentially comparative. This limits the number of artworks that can be investigated by an art expert in reasonable time. The recent availability of large digitized art collections enables a shift in the scale of such analysis through the use of computational methods. Our research shows that simple physics-inspired metrics that are estimated from local spatial ordering patterns in paintings encode crucial information about the artwork. We present numerical scales that map well to canonical concepts in art history and reveal a historical and measurable evolutionary trend in visual arts. They also allow us to distinguish different artistic styles and artworks based on the degree of local order in the paintings. Art is the ultimate expression of human creativity that is deeply influenced by the philosophy and culture of the corresponding historical epoch. The quantitative analysis of art is therefore essential for better understanding human cultural evolution. Here, we present a large-scale quantitative analysis of almost 140,000 paintings, spanning nearly a millennium of art history. Based on the local spatial patterns in the images of these paintings, we estimate the permutation entropy and the statistical complexity of each painting. These measures map the degree of visual order of artworks into a scale of order–disorder and simplicity–complexity that locally reflects qualitative categories proposed by art historians. The dynamical behavior of these measures reveals a clear temporal evolution of art, marked by transitions that agree with the main historical periods of art. Our research shows that different artistic styles have a distinct average degree of entropy and complexity, thus allowing a hierarchical organization and clustering of styles according to these metrics. We have further verified that the identified groups correspond well with the textual content used to qualitatively describe the styles and the applied complexity–entropy measures can be used for an effective classification of artworks.

Melvin Drent, Poulad Moradi, Joachim Arts

We study the inbound supply mode and inventory management decision making for a company that sells an assortment of products. Stochastic demand for each product arrives periodically and unmet demand is backlogged. Each product has two distinct supply modes that may be different suppliers or different transport modes from the same supplier. These supply modes differ in terms of their carbon emissions, speed, and costs. The company needs to decide when to ship how much using which supply mode such that total holding, backlog, and procurement costs are minimized while the emissions associated with different supply modes across the assortment remains below a certain target level. Since the optimal policy for this inventory system is highly complex, we assume that shipment decisions for each product are governed by a dual-index policy. This policy dynamically prescribes shipment quantities with both supply modes based on the on-hand inventory, the backlog, and the products that are still in-transit. We formulate this decision problem as a mixed integer linear program that we solve through Dantzig-wolfe decomposition. We benchmark our decision model against two state-of-the-art approaches in a large test-bed based on real-life carbon emissions data. Relative to our decision model, the first benchmark lacks the flexibility to dynamically ship products with two supply modes while the second benchmark makes supply mode decisions for each product individually rather than holistically for the entire assortment. Our computational experiment shows that our decision model can outperform the first and second benchmark by up to 15 and 40 percent, respectively, for realistic targets for carbon emission reduction.

Ismet Ovčina, Muamera Smajić, Alma Mešić

The Herzegovina uprising in 1882, as the uprisings that preceded it, represent a specific period in the history of Bosnia and Herzegovina. Numerous studies were conducted to clarify this topic and the significance of the Herzegovinian uprising for the entire Bosnian society and its position in world trends. We can find sources on this topic in heritage institutions throughout the country and outside its borders. This work aims to present the results of research and unification of materials from the legacy of Hamdija Kapidžić and documents about the Herzegovina Uprising in the funds of the NULB&H, Archive of Bosnia and Herzegovina, Academy of Sciences and Arts of Bosnia and Herzegovina and the funds of Austrian libraries and archives. The material is presented through a bibliography with accompanying registers and will serve as a starting point for all researchers and users dealing with this topic. At the same time, it will bring a significant overview of this part of our history.

Harry Heft

The development of linear perspective in the early 15th century and the discovery of the retinal image two centuries later became cornerstones of an approach to visual perception theory that eventually took shape primarily in the hands of British Empiricist philosophers. Even as this approach has dominated perceptual theory to the present day, the perspectivist influence on pictorial representation within the visual arts steadily diminished over time. Its decisive break with perspectivism came in the early 20th century with transformative 19th century changes in the sciences and technology. Collectively, these events elevated process and change over fixity and stasis, and ultimately led to the collapse of the distinction between space and time in the physical sciences. Even so, approaches to visual perception in psychology remained remarkably untouched by these occurrences until the 1960s when the experimental psychologist James Gibson drew upon them to challenge the legacy of perspectivism and the visual image and their effect on perceptual theory. His ecological approach to perception recognizes animacy as the essential functional property of living things, and in doing so, conceptualizes seeing as a perception-action process. From this stance, Gibson like the visual artists earlier in the century rejected the assumption that visual perception is best characterized as the capturing of static images. Jointly and yet independently, both efforts loosened the grip that perspectivism and the visual image have maintained on the arts and on visual perception theory, respectively, bringing 19th century scientific advances into 20th century psychological thought.