Re-Discovering Aesthetics

The beginning of the 21st century has seen the renewed use of aesthetics as a critical and interpretive method within various discursive spheres. Particularly, and unsurprisingly, this move has been most pronounced in the discursive systems of philosophy and the artworld. It is to this more specific re-discovery that the authors in this journal address their arguments

Art, art history and systems-theory

Foreword on p.

The Artist in the Library

Through the course of this paper I seek to intertwine a story of my own creative relationship with libraries with accounts of artists’ work, including the work of my students. My goal is to articulate the ways in which artists work with, in, and on libraries and in doing this to define features of a library aesthetic. It is impossible, writing in London in 2016, to ignore the dire context for UK public libraries. Reductions in local government funding have resulted in widespread disregard by local authorities to their responsibilities under the 1964 Public Libraries and Museums Act – their statutory duty to provide a ‘comprehensive and efficient library service for all persons to make use thereof’. (Culture, Media and Sport Committee 2012, online) Cuts to library services continue apace [{note}]1. Writers, poets, artists and authors add their pleas to the protests against closures [{note}]2, but go largely unheeded. The idea of defining a library aesthetic might seem futile in the face of this austerity drive, but through my analysis of such an aesthetic, I hope to explore the potential of artworks to highlight and extend our understanding of its possibilities

CMS physics technical design report : Addendum on high density QCD with heavy ions

Peer reviewe

Making and matching: aesthetic judgement and the production of art historical knowledge

In this paper I argue that aesthetic judgement plays a key role in the production of art historical knowledge and that judgements of taste lie at the very heart of art historical practice. My key claim is that in their encounters with art the art historian makes parallel judgements. First, they make critical and connoisseurial judgments, which they may or may not choose to acknowledge. Second, further judgements are made on the particular discursive and historical models that they have chosen to use. My argument is that, even though they might not like to admit it, such discursive judgements are, also, aesthetic ones. In short, art historians are involved in a process that attempts to reconcile two things: on the one hand a mode of writing and on the other the art which that writing negotiates. My conclusion is that aesthetic judgements play a key role in this negotiation and hence in the genesis and structure of art historical discourse

Linking biochemical perturbations in tissues of the African catfish to the presence of polycyclic aromatic hydrocarbons in Ovia River, Niger Delta region

Petroleum hydrocarbons including polycyclic aromatic hydrocarbons (PAHs) are a pollution issue in the Niger Delta region due to oil industry activities. PAHs were measured in the water column of the Ovia River with concentrations ranging from 0.1 to 1055.6 ng L-1. Attenuated total reflection Fourier-transform infrared (ATR-FTIR) spectroscopy detected alterations in tissues of the African catfish (Heter-bronchus bidorsalis) from the region showed varying degrees of statistically significant (P <0.0001, P <0.001, P <0.05) changes to absorption band areas and shifts in centroid positions of peaks. Alteration patterns were similar to those induced by benzoapyrene in MCF-7 cells. These findings have potential health implications for resident local communities as H. bidorsalis constitutes a key nutritional source. The study provides supporting evidence for the sensitivity of infrared spectroscopy in environmental studies and supports their potential application in biomonitoring. (C) 2015 Elsevier Ltd. All rights reserved