The American painter Barnett Newman once said that an artist gets from aesthetics what a bird gets from ornithology—nothing. (…)
There are things in our context that we readily recognize to be art because they are sufficiently like it in relevant respects—even though they may not “look like art” in every respect. What is this form of life in which this likeness can be seen? (…)
The notion that “vision itself has its history,” to use the words of Heinrich Wölfflin, has been one of the longest-lasting and deepest- seated principles of art history, even if it has sometimes been somewhat subterranean.
In the present study 24 university students read four different texts in four conditions:
(1) while listening to music they preferred to listen to while studying;
(2) while listening to music they did not prefer to listen to while studying;
(3) while listening to a recording of noise from a café; and finally
(4) in silence.
After each text they took a reading-comprehension test. Eye movement data were recorded for all participants in all conditions.
A main effect for the reading-comprehension scores revealed that the participants scored significantly lower after they had been listening to the non-preferred music while reading, compared with reading in silence.
{ Sandro Botticelli, Primavera, ca. 1482 | Enlarge/Zoom | There are 500 identified plant species depicted in the painting, with about 190 different flowers. Of the 190 different species of flowers depicted, at least 130 have been specifically named. | Wikipedia | Continue reading }
As of 2009 there were 3,020 museums in China, including 328 private museums (the American Association of Museums estimates 17,500 in the US). One hundred new museums are being added each year. In March the government made entry to museums of modern and contemporary art free. The torrid pace of museum development is part of a national drive to build cultural infrastructure and, as Cai Wu, the minister of culture, put it earlier this year in a published comment, “to establish a batch of world-famous cultural brands.”
“The next ten years should be a golden period for the development of every aspect of cultural industries in China,” said Ye Lang. “The country isn’t just satisfied with the economic achievements it had made,” the Xinhua news agency announced in January. “What it now needs is all-round cultural influence on an international scale.” The government backs these ambitions with a cultural outlay of $4.45bn in 2009, excluding construction costs.
Language, according to Benveniste, is the only semiotic system capable of interpreting another semiotic system. How, then, does language manage when it has to interpret music? Alas, it seems, very badly. If one looks at the normal practice of music criticism (or, which is often the same thing, of conversations “on” music), it can readily be seen that a work (or its performance) is only ever translated into the poorest of linguistic categories: the adjective. Music, by natural bent, is that which at once receives an adjective.
The adjective is inevitable: this music is this, this execution is that. No doubt the moment we turn an art into a subject (for an article, for a conversation) there is nothing left but to give it predicates; in the case of music, however, such predication unfailingly takes the most facile and trivial form, that of the epithet. Naturally, this epithet, to which we are constantly led by weakness or fascination (little parlour game: talk about a piece of music without using a single adjective), has an economic function: the predicate is always the bulwark with which the subject’s imaginary protects itself from the loss which threatens it. The man who provides himself or is provided with an adjective is now hurt, now pleased, but always constituted.
Why is it that some of us can’t live without an iPod perpetually connected to our ears while others couldn’t care less about music?
Our love of listening to tunes may be influenced by whether or not we carry a particular gene.
Researchers have discovered that a gene with the snappy name arginine vasopressin receptor 1A (AVPR1A), is found more frequently in people who relish a good toe-tapper. (…)
Studies have also found genetic traits associated with being tone deaf. Other genes have been found to relate to absolute pitch, aka “perfect pitch” (being able to name a certain note just by hearing it).
In late 1979, Debbie Harry suggested that Nile Rodgers join her and Chris Stein at a Hip hop event in a communal space taken over by young kids and teenagers with boom box stereos, who would play various pieces of music to which performers would break dance. The main piece of music they would use was the break section of “Good Times.”
A few weeks later, Blondie, The Clash and Chic were playing a gig in New York at Bonds nightclub. When Chic started playing “Good Times,” rapper Fab Five Freddy and members of the Sugarhill Gang jumped up on stage and started freestyling with the band; Rodgers allowed them to “do their improvisation thing like poets, much like I would play guitar with Prince.”
A few weeks later Rodgers was on the dance floor of New York club LaViticus and suddenly heard the DJ play a song which opened with Edwards bass line from “Good Times”. Rogers approached the DJ who said he was playing a record he had just bought that day in Harlem. The song turned out to be an early version of “Rapper’s Delight” by The Sugarhill Gang, which Rogers noted also included a scratched version of the song’s string section. Rogers and Edwards threatened The Sugarhill Gang with legal action, which resulted in them being credited as co-writers on “Rappers Delight”.
Among 20th-century artists, few can compare for sheer cinematic drama with the Italian painter and sculptor Amedeo Modigliani, “probably the most mythologized modern artist since Van Gogh,” according to the art historian Kenneth Silver. Scenes from the life of Modigliani might include “Modi” hobnobbing with Picasso in Montmartre, having a torrid affair with the married Russian poet Anna Akhmatova, and ending his long relationship with the English journalist Beatrice Hastings when her new lover drew a gun on him at a drunken party attended by Picasso, Matisse, and Juan Gris.
Modigliani drank heavily, used cocaine and hashish, and, a gorgeous hunk of a man despite his modest height of 5 feet 3 inches, fathered an indeterminate number of illegitimate children. (…)
“Sometimes, when drunk, he would begin undressing,” a friend reported in a typical account of Modigliani misbehaving, “under the eager eyes of the faded English and American girls who frequented the canteen … then display himself quite naked, slim and white, his torso arched.” When his life was cut short by tuberculosis at the age of 35, his final lover, Jeanne, eight months pregnant with their second child, threw herself out of a window.
When forming first impressions about individuals, we often categorize them as belonging to a specific social group, based on very little information. Certain aspects in the way a person looks, or information about a certain trait they possess, may lead us to identify them as belonging to a high- or low-status social group. (…)
The idea of a correlation between various traits has been demonstrated in the ‘halo effect’ (Thorndike, 1920), showing the tendency to attribute all-positive or all-negative traits to individuals, based on one positive or negative initial trait. (…)
A variety of variables of physical appearance, such as dress, bodily posture, weight and perceived attractiveness have been shown to have an effect on the impression individuals make. Gender schemas are one of the parameters through which we infer personality traits, and have been demonstrated to have a strong influence on the impression formation. Males are generally perceived as possessing more high-status traits, such as assertiveness and competence, than females. (…)
Listening to music is an activity that plays an important role in people’s lives, especially in adolescence and young adulthood. Individuals consider the music they like as an important part of themselves, and believe their taste in music reveals aspects of their own personality, more than preferences for books, clothing, food, movies and television shows. The idea that personal musical taste is related to other aspects of personality has in fact received further confirmation in various studies relating musical preferences and particular personality traits. Thus, for example, liking for rock, heavy metal and punk were found to be positively related to sensation-seeking; extraversion and psychoticism were found to be related to liking for music with ‘exaggerated bass’ such as rap and dance music, and to stimulating music such as rock-and-roll and pop; rebelliousness was found to be related to liking for defiant music. (…)
Studies suggest that knowing a person’s musical taste has a powerful effect on how they are perceived and evaluated.
Does monocular viewing affect judgement of art? According to a 2008 paper by Finney and Heilman it does. The two researchers from the University of Florida inspired by previous studies investigating the effect of monocular viewing on performance on visual-spatial and verbal memory tasks, attempted to see what the results would be in the case of Art.
In particular, they recruited 8 right-eye dominant subjects (6 men and 2 women) with college education and asked them to view monocularly on a colour computer screen 10 painting with the right eye and another 10 with the left. None of the subjects was familiar with the presented paintings. Overall, each subject viewed 5 abstract expressionist and 5 impressionist paintings with each eye. (…)
Monocular viewing had significant effects only in paintings in the abstract expressionist style. Impressionist paintings yielded no differences.
Humans experience pleasure from a variety of stimuli, including food, money, and psychoactive drugs. Such pleasures are largely made possible by a brain chemical called dopamine, which activates what is known as the mesolimbic system — a network of interconnected brain regions that mediate reward. Most often, rewarding stimuli are biologically necessary for survival (such as food), can directly stimulate activity of the mesolimbic system (such as some psychoactive drugs), or are tangible items (such as money).
However, humans can experience pleasure from more abstract stimuli, such as art or music, which do not fit into any of these categories. Such stimuli have persisted across countless generations and remain important in daily life today. Interestingly, the experience of pleasure from these abstract stimuli is highly specific to cultural and personal preferences.
We know very well what sculpture is. And one of the things we know is that it is a historically bounded category and not a universal one. As is true of any other convention, sculpture has its own internal logic, its own set of rules, which, though they can be applied to a variety of situations, are not themselves open to very much change. The logic of sculpture, it would seem, is inseparable from the logic of the monument. By virtue of this logic a sculpture is a commemorative representation. It sits in a particular place and speaks in a symbolical tongue about the meaning or use of that place.
The English language makes a distinction between blue and green, but some languages do not. Of these, quite a number, mostly in Africa, do not distinguish blue from black either, while there are a handful of languages that do not distinguish blue from black but have a separate term for green.
