Seeing and tasting the divine: Simeon Solomon’s homoerotic sacrament

Book synopsis: Should sight trump the other four senses when experiencing and evaluating art? Art, History and the Senses: 1830 to the Present questions whether the authority of the visual in 'visual culture' should be deconstructed, and focuses on the roles of touch, taste, smell, and sound in the materiality of works of art. From the nineteenth century onward, notions of synaesthesia and the multi-sensorial were important to a series of art movements from Symbolism to Futurism and Installations. The essays in this collection evaluate works of art at specific moments in their history, and consider how senses other than the visual have (or have not) affected the works' meaning. The result is a re-evaluation of sensory knowledge and experience in the arts, encouraging a new level of engagement with ideas of style and form

Construction of Evaluation Index of Nature-Relatedness Effect of Public Art Landscape Under the Background of Sustainable Development of Environment

Purpose: From the two dimensions of aesthetic nature-relatedness and experience nature-relatedness, we systematically construct an evaluation index system of public art nature-relatedness effect composed of the attraction effect index, communication effect index, reflection effect index, and experience effect index. The construction of the evaluation index system has laid a perfect foundation for the nature-relatedness evaluation of public art landscape.   Theoretical framework: 'Natural-relatedness' is a kind of relationship, which contains the individual's recognition, praise, tolerance, and understanding of the interconnection between man and nature. The content involved not only includes the individual's feeling of facing nature but also the self-concept contained in nature, as well as the individual's values of nature, self, and society. The natural-relatedness has a positive effect on people's green ecological view and healthy outlook on life.   Design/methodology/approach: This study used literature analysis, field research, analytic hierarchy process, and case analysis. Through literature analysis, we sort out the current situation and problems in regional environmental planning at home and abroad. The evaluation index system of the natural coupling effect of the public art landscape is constructed by the analytic hierarchy process. The case analysis method is used to analyze the evaluation results.   Findings: The evaluation index system includes four secondary evaluation indexes: 'the attraction effect, '' reflection effect, '' communication effect ' and ' the experience effect, 'and 13 tertiary indexes under the secondary indexes. The construction of the evaluation index of the nature-relatedness effect provides a theoretical basis for studying natural public connection in public art landscape design.   Research, Practical & Social implications: This study combines theory with practice, takes the practical problems encountered in the sustainable development of the regional environment as the starting point, and explores the nature-relatedness mechanism from the public perspective. This research helps to improve the effectiveness of public art landscape design practice and has a significant role in promoting the negative emotions of the public in the city.   Originality/value: The construction of the evaluation index of the natural connection effect of public art helps to narrow the intimacy and interaction between the public art landscape and the public. The study also provides a specific direction for the creation of the public art landscape

A study of experience and its relationship to painting

A study of man's experience in its many aspects would eventually bring into focus a study of art. This paper will attempt to trace the relationship of art to experience by considering: first, those qualities in man which lead him to express himself through an art form and; second, some aspects involved in the production of that art form--in this case—in painting. The function of this paper is to clarify or explain the paintings it accompanies in order to assist the observer in his analysis and evaluation of them

Evaluating Standardized Assessments’ Ability to Capture Lived Experience of Cancer Patients and Survivors in Art Therapy Groups

This paper explores the use of quantitative assessments typically used in research to evaluate experiences of cancer patients and survivors receiving group art therapy services. Literature exploring program evaluation as a methodology, how current research selects standardized measurement tools for the evaluation of art therapy interventions with adult cancer patients and survivors, and on the efficacy of art therapy with this population is reviewed. Quantitative and qualitative data were collected from four participants, who were clients in two eight-week art therapy groups. Quantitative data were collected in the form of pre- and post-test measurements using six commonly used standardized quality of life assessment tools. Qualitative data were collected via focus groups and art responses. Quantitative data were analyzed to identify general trends in the pre- and post-test measures, demonstrating that no significant positive shifts in symptoms or well-being were documented in the tests. Qualitative data were then analyzed to identify six prominent themes, including the impact of the COVID-19 pandemic on the participants’ experience of the tests, the participants’ perceived personal value of the tests, pre- and post-test measures as containment of experience, art responses as accurate representations of the benefits of art therapy, participants’ passion for art therapy, and participants’ feelings that standardized tests did not accurately capture their experience in the group. These findings were then examined in the context of the literature reviewed, and it was concluded that while standardized assessments have a valuable place in research, they do not effectively capture the lived experience of participants in art therapy groups. Furthermore, future research should continue to explore the value of qualitative research, including that which uses art-making, in evaluating art therapy programs and effectiveness

Understanding How Image Quality Affects Deep Neural Networks

Image quality is an important practical challenge that is often overlooked in the design of machine vision systems. Commonly, machine vision systems are trained and tested on high quality image datasets, yet in practical applications the input images can not be assumed to be of high quality. Recently, deep neural networks have obtained state-of-the-art performance on many machine vision tasks. In this paper we provide an evaluation of 4 state-of-the-art deep neural network models for image classification under quality distortions. We consider five types of quality distortions: blur, noise, contrast, JPEG, and JPEG2000 compression. We show that the existing networks are susceptible to these quality distortions, particularly to blur and noise. These results enable future work in developing deep neural networks that are more invariant to quality distortions.Comment: Final version will appear in IEEE Xplore in the Proceedings of the Conference on the Quality of Multimedia Experience (QoMEX), June 6-8, 201

UMJETNIČKO DJELO KAO SREDSTVO EVALUACIJE GLAZBENOG SLUHA

A musical work of art in music classes affects the development of age appropriate music aesthetic criteria, music taste and the acquisition of knowledge of particular music literature. A work of art also functions as a means for developing different elements of musical hearing such as sharpening hearing perception, practising hearing concentration, and learning basic music terminology, such as atmosphere, tempo, dynamics, musical form and different music performers. At the moment of listening to and experiencing music in class, music is considered a work of art, but when its elements are discussed and analysed, the work of art becomes the means of learning about music. As the outcomes of learning need to be evaluated, musical work of art also becomes a means of evaluation. This research tries to establish whether there are differences in opinions among primary school teachers towards evaluation in music class regarding years of teaching experience and whether there are any differences in opinions among primary school teachers towards evaluation in music class regarding their level of education. The obtained results show that there is no statistically significant difference in opinions among primary education class teachers towards evaluation in general, nor according to the teachers’ level of education. The participants show preference for numerical evaluation, which in turn opens new questions related to the teachers’ musical competence in teaching practice and their permanent training in the field of school docimology.Glazbeno umjetničko djelo u nastavi glazbe djeluje na razvijanje estetskih kriterija u području glazbe, glazbenog ukusa i stvaranje fundusa poznavanja određenog dijela glazbene literature, primjerenog uzrastu. Ono je ujedno i sredstvo razvijanja različitih elemenata glazbenog sluha kao što je izoštravanje slušne percepcije, vježbanje slušne koncentracije, upoznavanje s temeljnim glazbenim pojmovima kao što su ugođaj, tempo, dinamika, glazbeni oblik i razni izvodilački sastavi. U trenutku slušanja i doživljavanja glazbe u samoj nastavi glazba je umjetničko djelo, ali u trenutku razgovora i analize sastavnica istog umjetničko djelo postaje sredstvo učenja o glazbi. Kako ishode učenja treba evaluirati, umjetničko djelo u nastavi glazbe time postaje sredstvo evaluacije. Istraživanje koje je provedeno bavi se pitanjem postoje li razlike među učiteljima razredne nastave u mišljenjima prema ocjenjivanju u predmetu Glazbena kultura s obzirom na godine poučavanja i postoje li razlike među učiteljima razredne nastave u mišljenjima prema ocjenjivanju u predmetu Glazbena kultura s obzirom na stupanj obrazovanja. Rezultati koji su dobiveni otkrivaju da ne postoji statistički značajna razlika među učiteljima razredne nastave u mišljenjima prema ocjenjivanju niti statistički značajna razlika među učiteljima razredne nastave u mišljenjima prema ocjenjivanju obzirom na stupanj obrazovanja. Ispitanici su skloniji brojčanom ocjenjivanju što otvara pitanja vezana uz glazbene kompetencije učitelja u nastavnoj praksi i njihovog permanentnog usavršavanja u području školske dokimologije

Adaptation of a University Soils Mechanics Course for a Union Technician Training Program

When dealing with the term “geotechnical”, most often engineers associate this with the engineering during the design phase. However, equally important is the quality control performed during the construction phase. While great time and expense is used in the initial investigation, the field quality control is usually regulated to the lowest bidder. In 2002, the International Union of Operating Engineers, Local 150 started an organizing effort in the Chicagoland area. In the area of Soils, the Union relied on certifications revolving around laboratory testing and not actual field work. This is in a large part due to the fact that the in the field evaluation of soils there is not a trade organization acting as governing body (such as the American Concrete Institute, American Institute of Steel Construction, or the American Welding Society) for certification. Experience is paramount in the field as the evaluation of soils can be as much “art as science”.Cockrell School of Engineerin

Overcoming the barriers to implementing urban road user charging schemes

Urban road user charging offers the potential to achieve significant improvements in urban transport, but is notoriously difficult to implement. Cities need guidance on the range of factors to be considered in planning and implementing such schemes. This paper summarises the results of a 3 year programme which has collated evidence on the issues of most concern to cities. A state of the art report has provided evidence on 14 themes, ranging from objectives and design to implementation and evaluation. A set of 16 case studies has reviewed experience in design and implementation across Europe. The paper summarises their findings, provides references to more detailed information, presents the resulting policy recommendations to European, national and local government, and outlines the areas in which further research is needed

Teacher/Artist/Teacher

Art educators have expressed the need for art teachers with more qualifications and for more evidence of creativity and successful art experience. The purpose of this project is to illustrate the importance of the interrelationship between the action-oriented sensory capacities of the artist and the verbal-analytical capacities of the teacher, and in so doing to develop a vehicle through which an art teacher might demonstrate the necessary proficiency in at least one medium within the fine arts. More specifically, the objective of the project is the development of an art exhibit to validate the competency of the artist-teacher in the medium of oil painting. The philosophy of every art teacher should be based on art as experience, since valid creative work evolves from sensitive experience. An art teacher must be able to communicate with a student verbally; worlds are one relationship to the creative experience, the art forms another. Much precise thought can go on in words, but ultimately it can only be meaningful for the teacher and student, in turn, if both have experienced art. The teacher should be a creative artist in his own right. He should know from “doing” the experience he is to teach. For the purpose of the study, the literature was divided into five categories: 1) philosophical and psychological, 2) definitive information, 3) historical, 4) present attitudes, and 5) implications for the future. The evidence in the literature indicated that art educators strongly favor the idea that the teacher should be a creative artist in his own right, that he should be skilled in at least one major productive area of art. The vehicle developed in this project was an art exhibit containing fifteen oil paintings. The University of North Florida Library Exhibit Area was chosen as the site of the display which was scheduled from July 18-29, 1977. The show was accompanied by a reception; a printed brochure and invitation described the project, the background of the artist, and contained a list of the paintings. The project contains a complete photographic record of all works in the exhibit. An evaluation of the work was undertaken by a group of five qualified judges in the field of fine arts and art education. At the close of the exhibit the responses to the evaluation were tabulated and a correlation was made on the ratings of five paintings chosen at random from the show