Hasil untuk "History of the arts"

E. Metcalf

history of black American art have often been difficult to disentangle from one another. Such confusion is encountered in all art, of course, but it has been a particular burden for black Americans. Art represents and sanctifies what is valued in a society; the ability to create and appreciate art implies heightened human sensibility and confers social status and prestige. A people said to be without art, or with a degraded form of it, reputedly show themselves lacking in the qualities that dignify human experience and social interaction. They are said to be "uncultured," "primitive," unable to participate in refined society. Definitions of art are therefore highly political. They are major battlegrounds on which the struggle for human and social recognition is waged. A people can ill afford to let others control the definitions by which their arts are classified and evaluated. The history of black American art demonstrates the social consequences of such aesthetic control. During the first centuries of black experience in America, partly to support a social system grounded on the denial of the humanity of black people, whites generally refused to admit that blacks could make art at all. By the end of the nineteenth century and the beginning of the twentieth, enough black artists had mastered the white Europeanized aesthetic tradition to argue that blacks had proved their civility and should be allowed the benefits of American democracy. No "people that has ever produced great literature and art," said James Weldon Johnson, "has ever been looked on by the world as distinctly inferior."' Yet to gain a measure of acceptance from the white art world and white society, black fine artists have often been forced to conform to artistic traditions and forms that denied their unique cultural heritage and the reality of their American experience. This was not true for all black artists, however. From the earliest years of their American captivity, blacks had practiced aspects of the traditional arts of Africa. Although these activities did not conform to white artistic definitions and so were not

Concepción de la Peña Velasco

Y. Lukina, O. Lerman, N. Kutishenko et al.

Aim . To evaluate the health status and outcomes of patients with overweight (pre-obesity) or obesity during long-term follow-up as part of the EVA observational program. Material and methods . The EVA study included patients with over­weight and obesity (body mass index (BMI) >25 kg/m 2 ) from the out­patient registry of patients with cardiovascular diseases or their risk fac­tors from April 8, 2019 to March 24, 2020. One and three years after the enrollment visit (coinciding with the COVID-19 pandemic), we con­tacted patients by telephone to collect information on body weight at the survey date, medication adherence, and subjective assessment of pre-obesity/obesity. At the three-year follow-up, data were collected on COVID-19 history and the changes of comorbid conditions during the COVID-19 pandemic. Results . The study included 295 patients. The mean follow-up period was 3,6±0,5 years. The second telephone contact yielded following information on 261 (88,5%) patients: 18 — died, 243 — alive. In ad­dition, 129 (43,7%) patients had COVID-19. Adherent patients and older people were less susceptible to the risk of COVID-19 infection compared to non-adherent and younger patients (p=0,016 and p=0,043, respectively). Every third (32,3%) patient who had COVID-19 experienced worsening of noncommunicable diseases (NCDs), and almost every fourth (23,4%) patient developed new-onset NCDs. A decrease in weight self-assessment criticality was found, especially in patients with pre-obesity, 40% of whom considered their body weight to be normal. Predictors of adverse outcomes were prior myocardial infarction (hazard ratio (HR)=6,10; 95% confidence interval (CI): 1,18-31,46 (p=0,031)), type 2 diabetes (HR=2,78; 95% CI: 1,03-7,51, p=0,043) and BMI (HR=1,12; 95% CI: 1,01-1,24 (p=0,035)). Conclusion . Significant predictors of an unfavorable prognosis in patients over a 3-year follow-up period were elevated BMI, prior myocardial infarction, and diabetes. After COVID-19, one-third of pa­tients experienced progression of existing noncommunicable diseases, and one in four patients developed a new-onset NCDs. Non-adherence was one of two factors associated with COVID-19 in­fec­tion. During the COVID-19 pandemic, a slight decrease in weight self-as­sessment criticality was noted in patients with pre-obesity or obesity.

Shota Hosono, Yoshio Masuda, Shun Tokioka et al.

Alternative reproductive tactics (ARTs) are discontinuous phenotypes associated with reproduction, observed in males of many species. Typically, large males adopt a tactic of competing with rivals for mating, while small males adopt a tactic of stealing fertilization opportunities from the large males. The ‘birth date hypothesis', proposing that the date of birth influences the determination of each male's reproductive tactic, has been tested only in teleost fish to date. Here, the birth date hypothesis was tested in ARTs of Japanese spear squid Heterololigo bleekeri (consort/sneaker) by analysing statolith growth increments. The birth date significantly differed between consorts (early-hatched) and sneakers (late-hatched). However, no differences were detected in growth history up to 100 days from hatching. Most immature males caught during the reproductive season were larger than sneakers, and their hatch date was similar to that of consorts, suggesting that these immature males had already been following a life-history pathway as a consort. These results indicate that ARTs of H. bleekeri are determined based on their hatch date in early life. This study firstly suggests that the birth date hypothesis applies to aquatic invertebrates, suggesting that the mechanism by which birth date determines the individual phenotype is a phenomenon more common than previously believed.

Maria S. Frolova

In 2021-2023 In Yekaterinburg, 3 volumes of author's essays were published on the development of the cultural sphere of the capital of the Urals. The release of review texts was initiated by the Department of Culture of the Yekaterinburg Administration. On 864 pages, using archival materials, unique historical and contemporary photographs, the “spirit of the development of the arts” is presented - music, theater and cinema in Volume 1, sculpture, painting and architecture in Volume 2, literature, art education and the educational system in Volume 3. The chosen genre - essays - is original and productive. Texts are a form of summing up, recording successes in the development of the Yekaterinburg/Sverdlovsk sphere of culture. The tercentenary anniversary of Yekaterinburg (the city can be scientifically categorized as a regional or peripheral capital), which took place in 2023, is an occasion for reflection and further planning. Richly illustrated, gift-type books are deep and original from the point of view of analytics of the development of the cultural sphere. The authors were leading academic researchers and employees of the largest cultural institutions of Yekaterinburg - the Sverdlovsk Regional Museum of Local Lore, UrFU named after the first President of Russia B. N. Yeltsin, the Museum of the History of Yekaterinburg, the Sverdlovsk Music School named after P. I. Tchaikovsky. Using the general scientific critical method, methods of synthesis and analysis, the text of the review provides a brief overview of all three volumes of essays, characterizes the merits of the publication, and provides criticism.

Manischa Eichwalder

“Embracing the otherness” is a phrase that is borrowed from Morehshin Allahyari’s virtual reality artwork She Who Sees the Unknown: Kabous, the Right Witness, and the Left Witness (2019). In this article, I am using this phrase to question the figuration of self and other as staged by Allahyari in her work. By deploying an overwhelming effect of immersion specific to the technological features of VR, Allahyari establishes a physical as well as an emo- tional relationship to the other. But instead of encouraging a sense of closeness, which is likely to be connected to the idea of “embracing otherness” as well as to the vision of VR as “empathy machine,” this immersive experience has the opposite effect. I argue that it weirdly plays with the appropriative mechanisms of othering, unsettles the viewer’s sovereignty, and thus initiates a rather “strange encounter.” In this sense, I will examine Allahyari’s use of VR’s immersiveness as a “body hack” and elaborate how I read her artwork as a critical commentary on the debate of the transformative potential of VR as “empathy machine.” Cover caption: Morehshin Allahyari, She Who Sees the Unknown: Kabous, The Right Witness, and The Left Witness, snapshots from VR video, commissioned by The Shed, image courtesy of the artist, 2019.

Yusro Edy Nugroho, Sahid Teguh Widodo, Wasino et al.

Colonialism has turned the gender relations in Java into something considerably complex. Through marriage, women were positioned to promote the harmonization of strategic politics of kingdoms. Such a condition results in many studies on several Javanese literary works of Wulang Putri. This research investigates the socio- historical background of the writing of Wulang Putri in the context of the hegemony of Javanese kingdom power. A sociological, literary work in the Gramscian hegemony theory was applied in this study. All data comprised nine literary works of Wulang Putri written in the nineteenth century. The result showed the effect of the literary works in instilling the political influence of the author through a cultural discourse. Such is seen in the post-Java War demilitarization (1825–1830) to maintain the integrity of the kingdom. In addition, there are still traces of efforts to unite the Mataram dynasty through marriages between princes and princesses in four palaces.

F. Seck

Abstract The African liberation movements and the early phases of nation-building on the continent, intertwined with the Cold War and the global student movement, left behind an array of textual, visual, and sonic traces that circulated through underground and clandestine networks across Africa and beyond. These cultural products, which include materials in African languages, remain marginalized in studies of African history and arts. This article posits the cultural underground of decolonization in Africa as a productive category for historical and literary inquiry and argues that exploring the literary and aesthetic aspects of this archive offers other ways of knowing and temporal epistemes important for the reconsideration of aesthetics, politics, and histories in and of Africa. I explore poems and songs from the Democratic Republic of the Congo, Cameroon, and Senegal to show how they provide avenues for a renewed engagement with decolonization and revolution.

Lupi, Danilo

This paper investigates for the first time the restoration work carried out on the refectory of the monastery of San Michele in Bosco in Bologna, which was supervised by Alfonso Rubbiani between 1892 and 1895. In spite of the vast literature on the ‘restorer’, this work has so far been scarcely considered both because of the chronology of the building (mid-16th century) as well as because it did not entail radical changes. Indeed, the limited size of the room and the numerous documentary traces – carefully tracked by Rubbiani and his patron, the lawyer Giuseppe Bacchelli – were addressing the operation philologically. The discovery of unpublished archival evidence contributed to a more appropriate understanding of the overall work; in particular, it is possible to note how the initial intentions of the architect and the commissioner, which were based on erudite investigations that involved intellectuals and politicians of the time, did not, unfortunately, come to fruition.

Grzegorz Jawor, Paweł Madejski

Wydawany materiał jest efektem działań Jana Zamoyskiego jako wysłannika królewskiego w starostwie samborskim. Dzieli się na dwie części. W pierwszej, spisanej po łacinie i zaczerpniętej przez twórcę Inwentarza… zapewne z wcześniejszych, niezachowanych obecnie źródeł, opisano poszczególne typy należności (capita — kar i opłat administracyjnych) z uzasadnieniem ich pobierania (causae). Druga część, zapisana już po polsku, jest praktycznym uzupełnieniem poprzedniej: wyliczono w niej, ile w danej wsi pobrano opłat, a ile jeszcze zostało do wyegzekwowania. Informacje te wskazują na specyficzne obyczaje prawne panujące w drugiej połowie XVI w., w których odnaleźć można wątki lokalne, ale i elementy obyczajowego prawa wołoskiego, ruskiego i polskiego.

İbrahim Şevket Güleç

Mevlânâ Celâleddīn Rȗmî (1207-1273), Hind-Pakistan Müslümanları, Türkler, İranlılar ve Orta Asya tarafından sahip çıkılan şair, mutasavvıf ve düşünürdür. Hayatının büyük bölümünü Anadolu’da geçirmesi ve eserlerini burada vermesi nedeniyle Türkler tarafından “Türk düşünür” olarak, eserlerinde ana dili Farsçayı kullandığı için İranlılar tarafından “Persian thinker” (Farsi düşünür) olarak kabul edilir. Mevlâna Celâleddīn Rȗmî Moğol istilalarının Müslüman coğrafyaları etkilediği bir dönemde yaşadığından, eserlerinde döneminin sosyolojik, siyasi etkilerini görmek mümkündür. Onun amacı, İslamiyet içindeki gerginlikleri gidermek, etnik toplulukları ve dünya dinlerini uzlaştırmak, insanlığı bağdaştırarak uluslararası barışı sağlamaktır. Hazreti Mevlâna’nın (1207-1273) ölümünün 750.yılı olan 2023 yılı Cumhurbaşkanlığımız tarafından Mevlânâ yılı olarak ilan edilmiştir. Mevlâna Celâleddīn Rȗmî’nin din, ahlak ve toplumsal alandaki rehberliği dinler ve kültürler arasında bir köprü oluşturmuş ve bu rehberlik evrensel bir boyut kazanmıştır. Mevlânâ Celâleddin Rûmî’yi konu alan müzikli sahne yapıtları başlıklı araştırmamız Mevlâna hakkında yapılan çalışmalara katkı sunmayı amaçlarken, bu alanda çalışma yapacak araştırmacılara kaynaklık edecek olması bakımından önem arz etmektedir. İncelemede Devlet Opera ve Balesi arşivi, gazete, dergi ve çeşitli elektronik indeksler kullanılmıştır. Devlet Opera ve Balesi arşivinde 1930 yılından bu yana sahneye konan müzikli sahne yapıtlarını incelenerek 10 Türk oratoryosu içinde; Mustafa Erdoğan’ın “Candan Cana Mevlâna”, Can Atilla’nın “Mevlâna (800.Yıl Oratoryosu)”, 64 Türk bale eseri içinde Can Atilla’nın “Çağrı” adlı bale eserinin Mevlana’yı konu aldığı saptanmıştır. Araştırmamızda gazete, dergi ve diğer elektronik indeksleri incelenmesi sonucunda Ali Doğan Sinangil’in “Mevlâna (Ney’in Söyledikleri)”, başlıklı oratoryosuna ulaşılmıştır. Çalışmada eser içerik bilgilerinin yanısıra bestecilerin eseriyle ilgili düşüncelerine de yer verilmiştir. Araştırmada betimsel araştırma yöntemi, veri toplama sürecinde belgesel tarama tekniği kullanılmıştır.

Nataliya BYELIK-ZOLOTAROVA, Natalya ZOLOTARYOVA, Viacheslav BOIKO et al.

The relevance of the study is determined by the need to cover the significance, uniqueness and means of performance of one of the masterpieces of the Viennese Classical School — Fantasia in c minor, op. 80 for mixed choir, piano and orchestra by Beethoven. The aim of this publication was to study the problems of performance interpretation of the legacy of the Viennese Classical School using the example of L. Beethoven’s Fantasia for piano, soloists, mixed chorus, and orchestra. Research methods were: creation of an information background; comparative analysis and structuring of information; identification of the categories that make the basis of the problem; generalization of obtained data. The materials based on audio and video recordings of the work by prominent representatives of the performing arts were used. The literature on the stylistic and compositional atmosphere of the era of Viennese classicism, as well as on features of the genres of the work was also used. The results of the study revealed the interrelationship of all components of the problem being studied. They evidenced the inseparability of such elements as genre, musical form, instrumentation, manner of performance, a certain historical period, as well as the stylistic orientation prevailing within it. Its main categories were identified while studying the chosen topic, as well as their dependency on the temporal, stylistic, individual, and psychological (performers’ personalities) context was established. These facts became a theoretical and methodological contribution to art science, history of performance, as well as music pedagogy. As a conclusion of the study on performing interpretation of the Viennese classics using the example of Fantasia by Beethoven, its genre stylistic and compositional technical universality was determined; the process during which the piano becomes a solo concert instrument; the role of improvisation in the large-scale synthetic genre; development of a single performance concept by the conductor, pianist and choirmaster, diversity of artistic and psychological types of performance while preserving the main author’s idea. The research of this topic has wide prospects in the future, thanks to its volume, multi-vector nature, connection with a wide range of musical subjects, and sensitivity to individual styles of interpretation in the context of different epochs. This is emphasized by the value of classical heritage, the need to preserve and popularize it.

Mahnaz Rezai

. Introduction Theater, as one of the literary types, has created a link between literature and performing arts. There have been two types of theater, comedy and tragedy. In the past, the type of tragedy was superior to the type of comedy. In the seventeenth century in France, with the appearance of Molière, comedy flourished and a revolution took place in the classical theater. In Iran, playwriting does not have much history. But its traditional and religious forms have always existed. In this article, we have done a comparative study of two comedy plays, Molière's The Miser and Akhundzadeh's The Tale of the Miserly Man. In the two studied works, miserliness is shown as one of the biggest moral pests that not only affects family relationships, but also involves social relationships.In this article, we have benefited from the theories of Michel Viegnes in the field of theater and his classification of types of humor and the theories of Ménandre, the ancient Greek playwright, in the field of classification of the characters of classical plays, and by examining and comparing the content, character, we have discussed the structure of two works to see how and in what cases Akhundzadeh imitated Molière and what was his purpose in writing this play.In fact, the era of comedy flourishing can be considered the post-Renaissance era and the 17th century. With the emergence of playwrights such as Molière, it became possible to pass from the rule of tragedy to the flourishing era of comedy, and the kings and princes of tragedy gave way to trivial characters of comedy. Molière had a significant influence on the playwrights of the world and also influenced the Iranian theater during the constitutional period. The plays of Mirza Fath Ali Akhundzadeh (1228-1295), an Iranian writer, thinker and critic, were among the first plays written following European plays. The title, structure, characters, and content of his play The Tale of the Miserly Man also convey his impression of Molière's The Miser. Methodology Comparative literature arose in France in the nineteenth century. Researchers of French comparative literature or the "French school of comparative literature" emphasized the issue of "relationship" between literatures. According to Guyard, "the researcher of comparative literature should focus on the exchange of themes, opinions, books or feelings between two or more literatures." (Guyard, 1958:12) With Guyard and after him Pierre Brunel, comparative literature becomes more of a science than a type of literary criticism. In addition to the issue of historical investigation, Yves Chevrel also brings the issue of boutiques into this topic. In his opinion, "comparative literature should add comparative boutique studies to its studies." (Chevrel, 2016: 48) In the American school of comparative literature, which is led by René Wellek (1903-1995), the historical study is abandoned and the focus is placed on the works themselves: "Everything It should be examined from the perspective of a literary work." (Brunel & Chevrel, 1989: 189-190) As mentioned, Akhundzadeh was influenced by Molière and the similarity between these two works is not accidental. Therefore, in this article, our research will be comparative literature based on the French school and we will discuss the influence of thoughts and themes and the comparative style of two works. To examine the types of humor in these two plays, we will rely on the theories of Michel Viegnes, a French writer and researcher, and to examine the characters of the plays, we will rely on the theories of Ménandre, the ancient Greek playwright. Discussion  3-1. Content reviewAs one of the freedom-loving playwrights of the Qajar era, Akhundzadeh criticized the traditional customs of the society through theater. Moliere's theater can also be defined as a realistic reflection of the performance of the members of a society. In this section, we will discuss the socio-political content of the plays and the analysis of the characters.  3-1-1. Socio-political and anthropological satireMoliere's play The Miser and Akhundzadeh's play are both social comedies. Moliere's The Miser depicts the bourgeois society of Paris during the reign of Louis XIV. Harpagon is a typical example of the 17th century bourgeois, who later became a type of personality in such a way that today in France, a stingy person is called Harpagon. Akhundzadeh's story of the miserly man also portrays the society of Iran in the early 13th century. In their works, these two playwrights describe the characters with a realistic, anthropological and sociological perspective and thus study different human aspects. In the preface of Tartuffe, Molière clearly states that "comedy can be effective in reforming some customs and traditions." (Molière, 2016: 5) In fact, for both authors, the main purpose of art is to cultivate positive qualities in human beings. According to Akhundzadeh: "It should be known that what is meant by the art of "comedy" is moral refinement. It means knowing the ugly and beautiful of human nature by looking at the shape and resemblance" (Adamiyat, 1349: 63).3-1-2. Personality psychologyAccording to the theories of Ménandre, the ancient Greek dramatist, the characters of the classical drama belong to three categories of people: 1) young people who intend to get married but face obstacles; 2) A slave and servant who is very clever and cunning and removes obstacles to marriage; and 3) secondary funny characters that provide joy and happiness in the theater scene. (Blanchard, 2000: 22-24) The main characters of both plays under our study are miserly and domineering old men, young people in love and simple-hearted, clever and cunning servants, and wise women. The choice of such characters actually shows the classicity of these two plays.Boileau emphasizes that "in Molière's plays, humor is created due to the mocking aspect that is rooted in the psychology of the character" (Conesa, 1995: 146).3-2. Structural investigationAkhundzadeh, like Molière, is not only concerned with showing some social and moral problems, but also emphasizes the artistic aspect of writing. In his plays, although he maintained the "unity of action", Molière questioned the "unity of place" and "unity of time". In other words, he followed the principle of classical theater according to which the plot should revolve around a single event. But refuse to limit this event to one day and one place. Akhundzadeh also wrote his play The Tale of the Miserly Man in a classical style and in five chambers (curtains) and did not limit it to a fixed place and time of one day.3-2-1. Language and styleThe language of Akhundzadeh's play, like Molière, is close to reality and effective. The story of the play and the dialogues of the actors are told with sweet and attractive expressions. In that period, the written language and the spoken language were significantly different. In this play, Akhundzadeh tried to distance himself from the common prose of his era and use spoken language for the characters. Regarding the similarities of the language of the two plays in question, it can be pointed out that the language used is vernacular. In this play, Molière's language is a natural and spontaneous language that shows the reality of the present and is performed quickly and impromptu by the actors. Another characteristic of Molière's language is his writing rhythm, to the point where we sometimes see a special rhythm in consecutive sentences and answers (Attaque des répliques).3-2-2. A combination of humorWriters and theoreticians have always tried to classify its types since the emergence of comic theater. In this research, we try to explain the types of humor from Michel Viegnes’s point of view. Viegnes divides humor into three types: personality humor, verbal humor, and situational humor. (Viegnes, 1992: 88) Molière and Akhundzadeh have used all three types of humor in their plays.One of the theater techniques mentioned by Michel Viegnes is the monologue ou soliloque technique. With soliloque, in fact, the character "thinks out loud" (Viegnes, 1992: 60) and this issue provides reasons for laughter. Like Molière, Akhundzadeh used monologue to show the humor of a characterThe scope of comic language or verbal humor is very wide. And "Includes exaggeration and exaggeration, changes in the construction and shape of the language, playing with words." (Viegnes, 1992: 9) According to Michel Viegnes: "In all languages, people have laughed at people whose way of speaking is out of the norm." (Ibid.)According to Michel Viegnes, "situation comics go beyond speech and include all kinds of kicking, spinning jumps, spinning on heels, and...." (Viegnes, 1992: 98).  Conclusion These two playwrights, in fact, study different human types and their disadvantages from a sociological and anthropological point of view, and depict the complexity of the human spirit in order to force the society of their age to think about their weaknesses through a humorous language.The style of both authors is classic, but it has undergone many changes and innovations. In fact, they present a mixture of comedy and tragedy to the audience.In this research, we come to the conclusion that with the help of comparative study, we can identify the roots of the currents of thought that influence the literature of the interior. With the help of comparative study, from an aesthetic, content and even theoretical point of view, literature can be studied not individually, but in its relationship with foreign literature. The comparison of the studied works is to test their similarities and convergences in order to consider literary phenomena in their transnational reality. Akhundzadeh's acceptance of this foreign genre, drama, and its rules, is important. In fact, with the help of this comparative study, we examined the entry and acceptance of a style, a theory, a theme in the literature of the country. Akhundzadeh's play is actually a kind of rewriting and literary representation in a transnational perspective. The purpose of literature is not only to connect with its reader and accept the work by him, but it is the influence of languages and thoughts on each other and the influence and influence, and as a result, progress and innovation in literature.

Stefanie Schneider, Ricarda Vollmer

Throughout the history of art, the pose, as the holistic abstraction of the human body's expression, has proven to be a constant in numerous studies. However, due to the enormous amount of data that so far had to be processed by hand, its crucial role to the formulaic recapitulation of art-historical motifs since antiquity could only be highlighted selectively. This is true even for the now automated estimation of human poses, as domain-specific, sufficiently large data sets required for training computational models are either not publicly available or not indexed at a fine enough granularity. With the Poses of People in Art data set, we introduce the first openly licensed data set for estimating human poses in art and validating human pose estimators. It consists of 2,454 images from 22 art-historical depiction styles, including those that have increasingly turned away from lifelike representations of the body since the 19th century. A total of 10,749 human figures are precisely enclosed by rectangular bounding boxes, with a maximum of four per image labeled by up to 17 keypoints; among these are mainly joints such as elbows and knees. For machine learning purposes, the data set is divided into three subsets, training, validation, and testing, that follow the established JSON-based Microsoft COCO format, respectively. Each image annotation, in addition to mandatory fields, provides metadata from the art-historical online encyclopedia WikiArt. With this paper, we elaborate on the acquisition and constitution of the data set, address various application scenarios, and discuss prospects for a digitally supported art history. We show that the data set enables the investigation of body phenomena in art, whether at the level of individual figures, which can be captured in their subtleties, or entire figure constellations, whose position, distance, or proximity to one another is considered.

Muhammad Zubair Khan, Oleg E. Peil, Apoorva Sharma et al.

In the rapidly expanding field of two-dimensional materials, magnetic monolayers show great promise for the future applications in nanoelectronics, data storage, and sensing. The research in intrinsically magnetic two-dimensional materials mainly focuses on synthetic iodide and telluride based compounds, which inherently suffer from the lack of ambient stability. So far, naturally occurring layered magnetic materials have been vastly overlooked. These minerals offer a unique opportunity to explore air-stable complex layered systems with high concentration of local moment bearing ions. We demonstrate magnetic ordering in iron-rich two-dimensional phyllosilicates, focusing on mineral species of minnesotaite, annite, and biotite. These are naturally occurring van der Waals magnetic materials which integrate local moment baring ions of iron via magnesium/aluminium substitution in their octahedral sites. Due to self-inherent capping by silicate/aluminate tetrahedral groups, ultra-thin layers are air-stable. Chemical characterization, quantitative elemental analysis, and iron oxidation states were determined via Raman spectroscopy, wavelength disperse X-ray spectroscopy, X-ray absorption spectroscopy, and X-ray photoelectron spectroscopy. Superconducting quantum interference device magnetometry measurements were performed to examine the magnetic ordering. These layered materials exhibit paramagnetic or superparamagnetic characteristics at room temperature. At low temperature ferrimagnetic or antiferromagnetic ordering occurs, with the critical ordering temperature of 38.7 K for minnesotaite, 36.1 K for annite, and 4.9 K for biotite. In-field magnetic force microscopy on iron bearing phyllosilicates confirmed the paramagnetic response at room temperature, present down to monolayers.

J. Bentz, K. O’Brien

Young people represent a powerful force for social change, and they have an important role to play in climate change responses. However, empowering young people to be “systems changers” is not straightforward. It is particularly challenging within educational systems that prioritize instrumental learning over critical thinking and creative actions. History has shown that by creating novel spaces for reflexivity and experimentation, the arts have played a role in shifting mindsets and opening up new political horizons. In this paper, we explore the role of art as a driver for societal transformation in a changing climate and consider how an experiment with change can facilitate reflection on relationships between individual change and systems change. Following a review of the literature on transformations, transformative learning and the role of art, we describe an experiment with change carried out with students at an Art High School in Lisbon, Portugal, which involved choosing one sustainable behavior and adopting it for 30 days. A transformative program encouraged regular reflection and group discussions. During the experiment, students started developing an art project about his or her experience with change. The results show that a transformative learning approach that engages students with art can support critical thinking and climate change awareness, new perspectives and a sense of empowerment. Experiential, arts-based approaches also have the potential to create direct and indirect effects beyond the involved participants. We conclude that climate-related art projects can serve as more than a form of science communication. They represent a process of opening up imaginative spaces where audiences can move more freely and reconsider the role of humans as responsible beings with agency and a stake in sustainability transformations.

Arnaud Mazier, Alexandre Bilger, Antonio E. Forte et al.

In this paper, we develop a framework for solving inverse deformation problems using the FEniCS Project finite element software. We validate our approach with experimental imaging data acquired from a soft silicone beam under gravity. In contrast with inverse iterative algorithms that require multiple solutions of a standard elasticity problem, the proposed method can compute the undeformed configuration by solving only one modified elasticity problem. This modified problem has a complexity comparable to the standard one. The framework is implemented within an open-source pipeline enabling the direct and inverse deformation simulation directly from imaging data. We use the high-level Unified Form Language (UFL) of the FEniCS Project to express the finite element model in variational form and to automatically derive the consistent Jacobian. Consequently, the design of the pipeline is flexible: for example, it allows the modification of the constitutive models by changing a single line of code. We include a complete working example showing the inverse deformation of a beam deformed by gravity as supplementary material.

Galina Sinkevich

A short history of Russian researches in Chinese astronomy in 19-20 centuries

Ingvild Hammervoll

Mellom 1892 og 1901 var Gustav Vigeland på to lange opphold i Paris, i en periode som ledet opp til hans gjennombrudd. Arbeidene han slo gjennom med kan tolkes som inspirert av samtidig fransk kunst. Fra disse årene finnes flere likheter mellom Vigelands og franske Camille Claudels verk. I hvilken grad var hun en inspirasjon for Vigeland? Gjennom kontekst og utvalgte verk diskuterer artikkelen en mulig forbindelse.