The Crosstown Initiative: Art,Community, and Placemaking in Memphis

This case study examines an arts organization at the center of an urban neighborhood revitalization effort and its contributions to creative placemaking and inclusive community building. The study documents innovative arts practices and explores their meaning for a local context, an understudied city in the Mid‐South region of the United States. It builds on the research team’s ongoing work as teachers, students, and scholars in partnership with the arts organization. It includes systematic participant observation, interviews with stakeholders, and a review of historical and contemporary media coverage. We found that the organization and its practices provided a rich context for exploring an expanded sense of community including bridging social capital and place‐based frameworks. Analysis suggests that the organization’s intentional arts based practices bring multiple understandings of community and art into meaningful dialogue through the generation of creative and social friction. These practices illustrate one context‐specific strategy addressing the tensions in a community–diversity dialectic (Townley et al. in Am J Commun Psychol 47:69–85, 2011 ).     

Imitation,Inspiration, and Creation: Cognitive Process of Creative Drawing by Copying Others' Artworks

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: (a) copying an artist's drawing, then producing an original drawing; (b) producing an original drawing without having seen another's work; and (c) copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from the model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks—whether through copying or prolonged observation—change people's cognitive representations of the act of drawing to produce novel artwork.     

Do Preschoolers Recognize The Emotional Expressiveness of Colors in Realistic and Abstract Art Paintings?

The present study was designed to examine preschoolers' ability to recognize the emotional expressiveness of an art painting, through its colors. To attain this aim 78 children, 3–5 years old were presented with realistic and abstract paintings conveying either happiness or sadness and were asked to choose those which matched the appropriate emotion. In total 16 paintings were used, which varied in color, while their subject matter was held as constant as possible after they had been previously rated by a group of adults to ensure that they conveyed the two emotions under investigation. Results showed that children's ability to recognize the emotional expressiveness of a painting through its colors appears at 3 years old and increases significantly at 4 and 5 years old. It was also found that the mood of happiness was more easily recognized than that of sadness, while the style of art paintings (realistic vs. abstract) did not affect children's ability to recognize emotions.     

Mapping the similarity space of paintings: Image statistics and visual perception

What makes two images look similar? Here we test the hypothesis that perceived similarity of artwork is related to basic image statistics to which the early visual system is attuned. In two experiments, we employ multidimensional scaling (MDS) analysis of paired-image similarity ratings from observers for paintings. Two sets of images, classified as “landscapes” and “portraits/still-life”, are tested separately. For the landscapes, we find that one of the first two MDS scales of similarity is strongly correlated with a basic greyscale image statistic, whereas the other dimension can be accounted for by a semantic variable (representation of people). For portrait/still-life, the first two MDS scales of similarity are most highly correlated with semantic variables. Linear combinations of statistical and nonstatistical features achieve improved predictive values for the first two MDS scales for both sets. The statistics that play the largest role in shaping similarity judgements in our tests are the activity fraction measure of sparseness and the log-log slope of the spatial frequency amplitude spectrum. We discuss these results in the context of scene perception and in terms of efficient coding of statistical regularities in scenes.     

On the Fundamental Worldview of the Integral Culture: Integrating Science,Religion, and Art: Part One

In the present essay the author suggests that the main reason why history failed to develop societies in harmony with Nature, including our internal nature as well, is that we failed to evaluate the exact basis of the factor ultimately governing our thoughts. We failed to realize that it is the worldview that ultimately governs our thoughts and through our thoughts, our actions. In this work we consider the ultimate foundations of philosophy, science, religion, and art, pointing out that they were and can be again in harmony with each other if their ultimate tasks are specified. It is specified here the first task of philosophy as considering the philosophical significance of the ultimate principles of physics, biology and man/society. These ultimate principles are in direct connection with the ultimate questions of religion. It is shown that the fundamental nature of art makes it able to perceive the ultimate destination of mankind and the Universe, the world-to-be. It is proposed that philosophy, religion and art together are able to supply us with an inter-subjective picture of the world-process, including the inter-subjective picture of the future of mankind and the Universe. Care is taken to enlighten the possible role of values in founding scientific research in the frame of present wide-ranging discussions. It is found that universal values of respect for existence, life and reason represent the inevitable basis of science. The exact foundations of a new, integral worldview are outlined, involving the worldprocess-picture, Nature-picture, images of man, society, self, history and manipulation. A list of our common tasks for founding the Integral Culture is proposed.     

An Aesthetic Review of New Mothers as the Ultimate Weaver: Achieving a Harmonious Integration of Prevalent Discourses and Lived Experience

Experiences in new motherhood are influenced by popular sociological discourses and ideologies. The narratives promoted in these discourses may or may not fit with the subjective experience of the mother. Lacking experience in motherhood, the new mother may misguidedly accept these mainstream discourses and ideologies as standard. The process of adapting and blending sociological narratives to fit with lived experience is similar to the art of weaving. This article, an original argument grounded in relevant literature, explores how new mothers can develop a balanced weave of popular social discourse and her subjective experience by: accepting motherhood as a creative process, being aware of the powerful influence of social constructs on her perceptions, and recognizing the influence of her body/biology on her lived experience. The aesthetic narrative of the spider, the ultimate weaver, accompanies the research presented. Complementary art therapy interventions such as weaving, art boxes, and dolls are discussed.     

THE ART OF WAR CORPUS AND CHINESE JUST WAR ETHICS PAST AND PRESENT

The idea of “just war” is not alien to Chinese thought. The term “yi zhan” (usually translated as “just war” or “righteous war” in English) is used in Mencius, was renewed by Mao Zedong, and is still being used in China today (zhengyi zhanzheng). The best place to start exploring this Chinese idea is in the enormous Art of War corpus in premodern China, of which the Seven Military Classics is the best representative. This set of treatises served as the military bible in imperial China from 1078 CE. Ideas analogous to ius ad bellum and ius in bello can be found in these texts. These norms are present in these military texts, elaborated in subsequent commentaries, understood as a matter of fact in Chinese political history, and recently and briefly acknowledged by a few Chinese military scholars in the mainland and in Taiwan. This Chinese just war ethics has its distinctiveness vis‐à‐vis James Turner Johnson's articulation of the Western classic view. It differs from Johnson's claims that military lethal violence is intrinsically morally neutral and that last resort is not a primary consideration in deciding for war. Contemporary Chinese People's Liberation Army (PLA) military publications show that the PLA understands the general idea of just war, but they acknowledge only the ad bellum part, not the in bello components.     

Finding meaning in art: Preferred levels of ambiguity in art appreciation

Uncertainty is typically not desirable in everyday experiences, but uncertainty in the form of ambiguity may be a defining feature of aesthetic experiences of modern art. In this study, we examined different hypotheses concerning the quantity and quality of information appreciated in art. Artworks were shown together with auditorily presented statements. We tested whether the amount of information, the amount of matching information, or the proportion of matching to nonmatching statements apparent in a picture (levels of ambiguity) affect liking and interestingness. Only the levels of ambiguity predicted differences in the two dependent variables. These findings reveal that ambiguity is an important determinant of aesthetic appreciation and that a certain level of ambiguity is appreciable.     

Abstract: Scenario Planning,Art or Science?

This article will argue that there is a science of scenario planning; or at least a logos, a logic, a scenariology. Scenario planning is not predictive. But a good set of scenarios, scientifically developed, can reliably and predictably change minds. Scenario planning is both art and science. In joining the club of the sciences, scenario planning calls for a new kind of membership, or a new kind of science, one that, following Stuart Kauffman, relies on the importance of story. Hegel tells us that all stories, all narratives include a conflict between desire and the law, intention, and necessity. Scenarios provide a way for communities to frame their intentions. They thereby effect “downward causality” on the present in order to project the present toward a preferred future. In fulfilling the promise of this new kind of science, scenario planning breaks with positivistic science, but without falling into a postmodern nihilism. Without setting out to do so, the discipline of scenario planning introduces us to a new epistemology, a new way of knowing the truth. Drawing on pragmatism, Wittgenstein, and Richard Rorty, this article reaches the conclusion that, for scenario planners, the future replaces objectivity as the horizon for justification. What is true? We'll see.     

Between art tourism and ‘Protestant pilgrimage’: individual journeys to artworks in two churches of Reformed denomination near Bern,Switzerland

ABSTRACT

Can an individual trip to an artwork in a Protestant church, that evokes experiences of transcendence, be understood as a ‘Protestant pilgrimage’? The question is discussed with a historical example from the eighteenth century and a contemporary example from the twenty-first century, both of which refer to the transcendental dimension of (religious) art and raise the question about the interrelationship between art tourism and pilgrimage. Although the motivation for such journeys is often aesthetic and not spiritual, visitors may be deeply touched by the artworks and experience feelings that transcend the mundane present. If these examples are considered as ‘pilgrimages’ (and not only in a merely metaphorical sense), attention must be paid to their ecumenical, potentially heterodox character. For in the Reformed tradition, the importance of the pilgrimage is the journey itself, and not the final destination.