Artists and Unconstitutional Conditions: The Big Bad Wolf Won’t Subsidize Little Red Riding Hood’s Indecent Art

Recent developments in the area of academic freedom and artistic expression are examined, considering First Amendment protection for artistic expression as well as the particular problem of government funding of the arts

Investigating facial animation production through artistic inquiry

Studies into dynamic facial expressions tend to make use of experimental methods based on objectively manipulated stimuli. New techniques for displaying increasingly realistic facial movement and methods of measuring observer responses are typical of computer animation and psychology facial expression research. However, few projects focus on the artistic nature of performance production. Instead, most concentrate on the naturalistic appearance of posed or acted expressions. In this paper, the authors discuss a method for exploring the creative process of emotional facial expression animation, and ask whether anything can be learned about authentic dynamic expressions through artistic inquiry

8. The Gothic Cathedral

The Gothic cathedral, like the Summa of Aquinas, the University of Paris, and the Christendom of Innocent III, stands as one of the major expressions of the spirit of the High Middle Ages. The word Gothic, coined by the Renaissance as a term of disparagement, has come recently to have more favorable and appreciative connotations. Such a reevaluation may be due not only to the better perspective that a longer period of time offers us, but also to a deeper understanding of the cultural role of artistic and spiritual symbolism. The artistic expression of the Middle Ages found its supreme embodiment in the architecture of the Gothic cathedral. [excerpt

Personal Style and Artistic Style

What is it for a person to have style? Philosophers working in action theory, ethics, and aesthetics are surprisingly quiet on this question. I begin by considering whether theories of artistic style shed any light on it. Many philosophers, artists, and art historians are attracted to some version of the view that artistic style is the expression of personality. I clarify this view and argue that it is implausible for both artistic style and, suitably modified, personal style. In fact, both theories of style crack along the same line, which suggests that they can indeed be mutually illuminating. I articulate and defend a view of personal style according to which, roughly, having style is a matter of expressing one’s ideals. I show how this illuminates the widely neglected value of personal style and propose a new, analogous theory of individual artistic style: artistic style is the expression of the ideals the artist has for her art

Artistic expression and olympics: The poster

Aun cuando para millones de personas la información básica de los Juegos Olímpicos es el cartel anunciador de cada uno de ellos, de tal manera que, a partir de los mismos, somos capaces incluso de situar en el tiempo y el espacio los Juegos a los que corresponden, es igualmente cierto que desconocemos, en gran medida, los entornos artísticos y los autores de cada una de estas obras de arte que, formando parte de lo que se conoce como la Galería del Arte de la Calle, cada una en su tiempo, divulgaron no solo el mensaje olímpico, sino la forma de entender las actividades físicas desde un planteamiento de educación social en valores. En este trabajo se analiza la génesis del cartel, los artistas y sus entornos creativos, así como la producción artística de cada uno de ellos, en aquellos casos en que la producción de la obra de arte olímpica es consecuente con una trayectoria personal o profesional. Igualmente las formas de producción y difusión de estas obras, que han pasado desde la galería de la calle a las vitrinas de los museos y de estos a objetos de consumo o suvenir.Although millions of people the basics notice of the Olympic Games is the poster for each ones of them, so that, from them, we can even put in the time and space to which the Games correspond, it is equally true that we ignore, largely artistic environments and the authors of each of these works of art, part of what is known as the Gallery of Street Art, each in its time, reported not only the Olympic message, but how to understand the physical activities from a social approach to values education. This paper discusses the genesis of the poster, the artists and their creative environments and artistic production of each ones of them, in cases where the production of Olympic artwork is consistent with personal or professional trajectory. Equally forms of production and dissemination of these works, which have passed since the Street Gallery to museum cabinets and use these to objects or souvenir

Between the ideal and the reality: The human body through the eyes of European artists

The human body has always been one of the most important subjects for European artists. But the way it is displayed in art has varied in different epochs. In ancient Greece, a canon was constituted that proclaimed an ideal vision of the body, derived from the rules governing the universe. This idealization of the human body, neglected in the Middle Ages, was re‑established in Renaissance and Classicist art. However, Renaissance artists also created another image of the human body by borrowing from patterns mainly found in nature, and started to depict their models not in an ideal but rather in a more natural shape. The new non‑ideal forms of art that appeared in Mannerist art made the artists develop a much wider artistic language, which brought into being a variety of individually interpreted artistic representations of the human body. It preceded similar phenomena which became widespread in the twentieth century. Thus, the human body was not always displayed in art as strong, healthy and beautiful. On the contrary, the martyred bodies of Christ and the saints, as well as the depictions of aged, tired or ill people, also carried enormous artistic expression. A distinct problem has occurred with the ways in which corpses have been presented in art. The review concludes with a reference to the contemporary trend called Body‑Art that involves various artistic activities, such as happenings and performances, where the human body is itself used as a significant work of art

Colin Mochrie vs. Jesus H. Christ: Messages About Masculinities and Fame in Online Video Conversations

With the availability of relatively easy-to-use tools for online video creation and distribution, people are increasingly producing videos not just for artistic expression, but also as a form of communication. This article examines two types of online video conversations, one within a specific online subculture, and one a series of responses to one particularly wellknown video. Videos lend themselves to the expression of ambiguity, contradictory meanings, taboo topics, and emotions. Within these two video conversations, topics include discussions of masculinity, identity, and fame.published or submitted for publicationis peer reviewe

Smashed hits: Overview

Though its trials are less monitored and recorded, music is no less subject to censorship than other forms of artistic expression, and the methods are much the same. These run the usual gamut from killing or imprisonment to banning the works themselves, and thence into that nebulous domain in which 'taste' and market forces are the engines of restriction

Free Expression in Arts Funding

The result of almost two years of research, this report surveys free expression policies among state and local arts agencies, including procedures for anticipating and handling controversy. Its purpose is to provide the arts community, as well as others interested in censorship or cultural policy, with solid research that will enable grant-making agencies to take a principled stand on artistic freedom without alienating their audiences or losing their funding. The report includes candid interviews with agency officials regarding funding disputes, political accountability, and most important, ways of reaching out to communities and opening up dialogue about challenging or provocative art. The report also contains extensive background on the "funding wars" of the 1990s, illustrations, and two appendices summarizing free expression statements and policies among all state arts agencies and a random sample of local agencies.As the Executive Summary points out, despite America's recent history of attacks on controversial art, artistic freedom in the context of public funding remains a critical issue. The ability to make challenging art that can explore all facets of the human condition, including unpleasant ones, is essential to a vibrant culture and a healthy democracy. Neither private philanthropy nor the mass media conglomerates that dominate commercial entertainment can be counted upon to support the give-and-take of diverse viewpoints, reflected through literature, theater, music, film, and other visual art, or to provide visibility for the multi-layered, varied, and inventive cultures of America

On the role of artistic freedoms in protecting fundamental human rights

This was a paper written to be spoken at the Human Rights Conference 2020: Lawyers without Borders Student Division Aberdeen University, March 2020. It was accompanied by 15 Power point slides, which cannot be reproduced in the hard copy paper for reasons of copyright. The paper responds to the question, 'Do artistic freedoms contribute to the protection of fundamental Human Rights'. With examples and with reference to cultural policy research discourse, I argue that the freedoms of 'art' are intimately connected to human rights, and that where human rights are contextualised by 'culture' (and cultural rights) we begin to understand the significance of the 'human' in human rights