Decomposing stimulus complexes and dissecting art: a theory of evaluation.
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A theoretical model is presented, which attempts to account for the evaluation of complex stimuli in terms of their constituent elements that are relevant to the intent of the assessment. The subjective evaluation of a compound stimulus is postulated to be a function of the number, weight and integrity of critical components, or sub-qualities, and their interactions. The model has application to the evaluation of any stimulus complex including works of "art". For illustrative purpose, it will here be applied to the analysis of pictorial works of art. (+info)
Abstraction and art.
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In a given social context, artistic creation comprises a set of processes, which relate to the activity of the artist and the activity of the spectator. Through these processes we see and understand that the world is vaster than it is said to be. Artistic processes are mediated experiences that open up the world. A successful work of art expresses a reality beyond actual reality: it suggests an unknown world using the means and the signs of the known world. Artistic practices incorporate the means of creation developed by science and technology and change forms as they change. Artists and the public follow different processes of abstraction at different levels, in the definition of the means of creation, of representation and of perception of a work of art. This paper examines how the processes of abstraction are used within the framework of the visual arts and abstract painting, which appeared during a period of growing importance for the processes of abstraction in science and technology, at the beginning of the twentieth century. The development of digital platforms and new man-machine interfaces allow multimedia creations. This is performed under the constraint of phases of multidisciplinary conceptualization using generic representation languages, which tend to abolish traditional frontiers between the arts: visual arts, drama, dance and music. (+info)
Abstraction in art with implications for perception.
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The relationship between people and art is complex and intriguing. Of course, artworks are our creations; but in interesting and important ways, we are also created by our artworks. Our sense of the world is informed by the art we make and by the art we inherit and value, works that, in themselves, encode others' world views. This two-way effect is deeply rooted and art encodes and affects both a culture's ways of perceiving the world and its ways of remaking the world it perceives. The purpose of this paper is to indicate ways in which a study of abstraction in art can be used to discover insights into, to quote the call for papers for this issue, 'our perception of the world, acquired through experience' and 'the way concepts are formed and manipulated to achieve goals'. (+info)
Smoking behaviour among arts student of a college in Mangalore, Dakshina Kannada.
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176 Arts students out of 450 students doing their under-graduation in an age range of 17 to 24 years returned a questionnaire designed to test their level of knowledge about smoking, attitude towards smoking and practice of smoking. 96.6% of the respondents were aware of the injurious nature of smoking. Potential to induce lung cancer was known by 93.2% of them, but only 34.1% knew it was a factor for GI malignancy. A higher proportion of males had good knowledge whereas females had moderate knowledge (p = 0.04). The incidence of smoking was 33.1%. A higher proportion of smokers chewed pan and consumed supari. 68.2% of smokers wished to quit smoking. Easy availability (47.7%) and influence of friends (34.1%) were the predominant reasons to smoke. Interestingly, 48% of males felt that smoking women had appeal. Anti smoking campaigns in addition to provision of information has to focus towards a change in attitude to smoking. (+info)
The intersection of urban planning, art, and public health: the Sunnyside Piazza.
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Deteriorating physical features of urban environments can negatively influence public health. Dilapidated environments and urban blight tend to promote alienation and can be associated with social disorder, vandalism, crime, drug abuse, traffic violations, and littering, which in turn affects health and well-being. In the late 1990s, the Sunnyside neighborhood in Portland, Ore, was plagued by many of these problems. In an attempt to invigorate neighborhood stewardship, the community organized and created a public gathering place; together, they painted a gigantic sunflower in the middle of an intersection and installed several interactive art features. As a result of these collective actions of "place-making," social capital has increased, thus revitalizing the community, and expanded social networks among residents have stimulated a sense of well-being. (+info)
Pacesetters of the American image or (a case for a pleasant diversion).
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Regardless of how you resolve the morality of our history, the fact is that Currier and Ives documented in their own special and often biased way the iconography of the growth and development of the United States of America (Fig. 88) in some of the most eventful years of its history from about 1840 through 1895. Now, as we near our 500th anniversary commemoration of Columbus' voyage to the Americas, it seems especially appropriate to review--to think about all of this. I think you have sensed, as we have gone along, that learning about Currier and his colleagues--these pacesetters of the American Image--has meant, as Osler predicted, a pleasant diversion for me. These activities have carried me into new areas of interest, expanding my perspective of the American Image--of people, of medicine, of life in general, and aiding in the identification of values, my own, as well as those of others. All along, my knowledge has been enhanced, especially of the history of this wonderful complex country of ours. Furthermore, and of considerable importance, this endeavor has sharpened my power of observation. I have, like a good doctor should do, learned to look better! (+info)
The decline of smoking in British portraiture.
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OBJECTIVE: To examine time trends in the portrayal of smoking in a national collection of portraiture and to compare this with the similar trends for television and film. METHODS: A compact disc produced by the National Portrait Gallery in London, UK, was systematically searched for artworks produced in the years 1950 to 1999. A "smoking portrayal" in an artwork was defined as having a cigarette, cigar or pipe in the mouth or hand of a named individual. RESULTS: Out of 1063 artworks included in the analysis, 53 portrayed smoking by identifiable individuals (5.0%). The rate of portrayal was highest in the 1950s (10%) and 1960s (11%) and then declined sharply thereafter (p value for trend < 0.00001). Smoking virtually disappeared from portraiture in the 1990s (at 0.6%). The median age of the smokers portrayed was significantly higher in the 1970 to 1999 period when compared to the 1950 to 1969 period. CONCLUSIONS: The decline of smoking in this collection of portraiture is consistent with the decline in smoking in the UK over these decades, but contrasts with trends for increasing smoking portrayal described elsewhere for film and television. (+info)
Designing an illustrated patient satisfaction instrument for low-literacy populations.
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Up to 25% of adults in the United States have difficulty with everyday reading tasks. As patients, adults with low literacy may not be able to complete many self-administered written questionnaires, which often are used to obtain information from patients and to gauge their satisfaction with care. We developed an illustrated version of a patient satisfaction instrument used by the Veterans Health Administration. This paper describes the extensive design process used to develop, pilot-test, and revise this 63-item illustrated instrument. A total of 438 patients were interviewed over a 1-year period to obtain feedback on illustrations, with at least 15 people viewing and commenting on each picture and revision. All pictures were revised, with the majority revised at least 4 times. We report on this iterative design process as well as on lessons we learned in illustrating questions for low-literacy populations. (+info)