The gloaming : narrative in contemporary painting

Also available online.The key to understanding my project lies in the assumption that the task of representation for contemporary painting is different from that of newer media such as photography and film. I see the role of painting as being the representation of the past; an engagement with history. Many of the painters who have inspired my way of seeing are artists who re-imagined the role of pre-modernist narrative painting and re-asserted it in contemporary practice. Contemporary narrative painting occupies a different role from that of its pre-modernist predecessors, such as Romantic painting. It also occupies a different role in relation to dominant narrative media of photography and film

Lucien Dechaineux 1869-1957, a retrospective

Lucien Dechaineux 1869-1957, a retrospective exhibition curated by Jonathan Holmes and Elizabeth Lad

Colour coded

This 300 word publication to be published by the Society of Dyers and Colourists (SDC) is a collection of the best papers from a 4-year European project that has considered colour from the perspective of both the arts and sciences.The notion of art and science and the crossovers between the two resulted in application and funding for cross disciplinary research to host a series of training events between 2006 and 2010 Marie Curie Conferences & Training Courses (SCF) Call Identifier: FP6-Mobility-4, Euros 532,363.80 CREATE – Colour Research for European Advanced Technology Employment. The research crossovers between the fields of art, science and technology was also a subject that was initiated through Bristol’s Festival if Ideas events in May 2009. The author coordinated and chaired an event during which the C.P Snow lecture “On Two Cultures’ (1959) was re-presented by Actor Simon Cook and then a lecture made by Raymond Tallis on the notion of the Polymath. The CREATE project has a worldwide impact for researchers, academics and scientists. Between January and October 2009, the site has received 221, 414 visits. The most popular route into the site is via the welcome page. The main groups of visitors originate in the UK (including Northern Ireland), Italy, France, Finland, Norway, Hungary, USA, Finland and Spain. A basic percentage breakdown of the traffic over ten months indicates: USA -15%; UK - 16%; Italy - 13%; France -12%; Hungary - 10%; Spain - 6%; Finland - 9%; Norway - 5%. The remaining approximate 14% of visitors are from other countries including Belgium, The Netherlands and Germany (approx 3%). A discussion group has been initiated by the author as part of the CREATE project to facilitate an ongoing dialogue between artists and scientists. http://createcolour.ning.com/group/artandscience www.create.uwe.ac.uk.Related papers to this research: A report on the CREATE Italian event: Colour in cultural heritage.C. Parraman, A. Rizzi, ‘Developing the CREATE network in Europe’, in Colour in Art, Design and Nature, Edinburgh, 24 October 2008.C. Parraman, “Mixing and describing colour”. CREATE (Training event 1), France, 2008

Improving Visual Style Classification in Digital Games Using Intercoder Reliability Assessment

The digital gaming community appreciates visual style information in digital games as it facilitates information seeking. Nevertheless, learned scholars have discovered that the digital game visual style classification is inconsistent and easily modified, potentially limiting the information and leading to inaccurate visual terminologies during information discovery. Therefore, this cross-sectional study was performed to assess multiple visual style classification terms and their definitions among Malaysian game developers using the closed card sorting exercise. A total of seven professional game developers participated in an online survey that comprised thirty-five digital game case studies using a card sorting technique. They were asked to classify nineteen visual style classification terms, including psychedelic, text, illusionism, photorealism, televisualism, handicraft, caricature, celshaded, comic book (anime), watercolour, Lego, minimalism, pixel art, silhouette, bright, dark, maplike, colourful, and black and white. The Fleiss’ kappa intercoder reliability assessment was performed to measure the coders’ agreement on visual style classification, followed by the think-aloud protocol descriptive analysis to gather assessment insights into the visual style descriptions. The intercoder reliability test achieved a significantly moderate agreement based on the results. The professional game developers agreed on eighteen visual styles and rejected the bright visual style classification due to its overlapping description with the colourful visual style. The definition of ten visual style classifications was improved from the existing Video Game Metadata Schema (VGMS) description, contributing to the digital game’s coherence and consistency. This improvement will enhance visual style classification information for machine-learning-based recommendation systems for digital game distribution platforms and digital archiving