历史·自然·女人:《火山情人》中收藏家与“艺术品”的互动

在苏珊·桑塔格的小说《火山情人》中,作为收藏家的骑士把历史、自然和女人都纳入收藏之列,并自觉或不自觉地与这些"艺术品"展开互动,折射的正是桑塔格对收藏家与收藏对象之间关系的理解和思考。骑士在那不勒斯的收藏活动达到巅峰,他在收藏浓缩着人类历史的艺术精品时,既获得了物质利益,又推广了艺术品,提升了大众的艺术品味。骑士忘乎所以地收集维苏威火山爆发的遗留物,有助于他在异国他乡找到强烈的归属感。然而,当骑士把女人埃玛作为"收藏品"并对其进行艺术加工后,非但不能收获真正的成功,反而在"艺术品"的自我毁灭中被其改造。

人工智能主创“艺术品”的艺术本质论

在现代社会不断进步和发展下,人工智能技术的使用给人们的生活方式带来很大改变,作为一种新形式,优化了社会生产关系,解决了人们面对的劳动力问题。人工智能时代也出现的新的艺术形式,这种形式不仅改变了艺术创作主体,也使艺术作品的本质问题得以改变。但是,在一定程度上,因为人工智能是为人创作的,并基于算法和数据实现的,产生的艺术品在一定程度上缺乏情感和创造力,存在明显的艺术本质问题。

Strategies and Suggestions for the Development of Mechanized Rapeseed Production in Sichuan

Mechanization is the future direction of rapeseed production in Sichuan. A series of technology tests for rapeseed mechanized production have been carried out in terms of variety selection, key agronomic measures and machinery in the main production area of Sichuan in recent years. In the research, the agronomic techniques, including variety selection for mechanical production, key agronomic measures and mechanical harvesting were analyzed. Based on the present condi- tions, strategy and suggestions for the development of mechanized rapeseed produc- tion in Sichuan also were presented.

＂Life Comes as Spring Comes, From All Sides＂1： Constructing and Reconstructing Silence in The Noise of Time

This paper focuses on a non-linear relationship between the course of one individual＇s life and its creative reshaping in the literary work of art as experienced in Julian Barnes＇s novel The Noise of Time. Contemplating a creative process of writing, the author seems to insist on a symbiosis between art and life. Writing about Shostakovich, he goes on challenging aWs ability to deliver a clear message about life： how to put what one has experienced into words？ A creative dialogue thus established between a non-speaking, extra-linguistic, and unique self and its verbal representation in literature is built upon a relational nature of the said and the not-said. Eloquent silence is employed to transpose one＇s life experience into the realm of verbal represenation. Focusing on the limits of verbal representation, Barnes＇ character in The Noise of Time similarly strives to grasp a meaning of the relationship among language, ＂silence＂, and liberation from the self. Refiguring silence as one of the most valuable narrative devices, the text challenges the illusory nature of historical time, of historical places, and of selfhood

Emmanuel Levinas： Hermeneutics, Ethics, and Art

This article draws attention to the subject of art in Levinas＇s thinking through consideration of his philosophical language, which is aided by images, metaphors, and idioms of art. The primary image that will accompany our discussion throughout this article is the image of art as shadow, which Levinas incorporates into the title of the essay which he devotes to the subject of art： ＂Reality and Its Shadow＂. Thinking about art from the perspective of Levinas means thinking about image and essence, about which is visible before us and which we cannot see, and about the different ways in which art can express itself. Levinas＇s theory of interpretation is grounded in and guided by the field of ethics and addresses the ethical aspects of interpretation. Levinas approaches the discourse of interpretation not out of na＇ivet6 but rather based on a deep understanding of the field of hermeneutics, with all its shortcomings and challenges. Thinking of hermeneutics from an ethical perspective is no mere addition to the discussion but the very crux of the matter. An attempt to understand interpretation as an act of exposing the truth encounters serious philosophical and logical difficulties, whether we are seeking to discover the intention of the artist, the intent of a specific work of art, or a hidden form within the work itself. The engagement with Levinas＇s theory of hermeneutics, however, raises a different question which is the focus of this article： Can Levinas＇s theory of interpretation be applied to the realm of artistic creation, and if so, how？ This question is sharpened by the difficulties that Levinas himself poses to his readers by designating art as the ＂shadow＂ of reality and drawing attention to the egoistic dimension of the artistic act.

PIXE AND IXX ANALYSIS OF MUSEUM PAPERLIKE OBJECTS

The study of paper damage under bombardments of protons and X--rays is reported. An on--demand beam pulsing system is useful for the PIXE analysis of delicate objectS. IXX (or PIXE--induced XRF) is more suitable than PIXE in terms of damage to the sample. Some new PIXE and IXX applications of archaeological paper--like samples in recent years are given.

Lavinia Fontana＇s Cleopatra the Alchemist

The purpose of this essay is to identify and analyze one of Lavinia Fontana＇s mysterious paintings, traditionally entitled Cleopatra but here considered to be an inventive portrayal of an ancient scientist, Cleopatra the Alchemist （ca. third century BCE）. There are four parts to this study. The first is an iconographical analysis of the painting by Lavinia Fontana＇s Cleopatra the Alchemist （1605） at the Galleria Spada in Rome. The second section deals with the origin of the Egyptian Cleopatra the Alchemist as an Egyptian scientist and of her inventions, which include the alembic and the ouroboros motiE The third section consists of an emblematic comparison between the imagery in the painting and alchemical references. The last brief section considers problematic copies of the painting

Affirming Art： Heidegger and the Sense of a Beginning

This essay offers a philosophical perspective that, in breaking with both the open and surreptitious dialectical method still so prominent in academic discourse, follows Heidegger in trying to conceive of a radically non-dialectical manner of approaching affirmation, negation, and neutrality. As with Heidegger, this is attempted through a turn towards art and the ＂emancipated contingency＂ that characterizes much creative production. In contrast to action and production within the knowledge economy, the creation of the artwork concerns a knowing of unknowingness （described by Maurice Blanchot as the neutral） that demands a rethink of action in relation to truth and errancy. Indeed, the very working of the work of art is conceived here as a truth that is precisely ＂set to work＂ （Heidegger） by errancy. Through a consideration of the essential difference between choice and decision and the different ＂beginning＂ of art that this suggests, the essay concludes with some reflections of the theme of art＇s fascination and the and the affirmation of the unknown.

Effects of DPC on Agronomic Traits and Economic Characters of Machine-Harvested Cotton in the Yellow River Valley of China and Chemical Control Techniques

[Objective] The aim was to investigate the effects of DPC chemical controlling technique on agronomic traits, yield and quality of machine-harvested cotton in the Yellow River Valley of China, and clarify the reasonable control period and the application amount of DPC. [Method] The new machine-harvested cotton variety Hengmian HD008 was used as the test material, and 3 different DPC treatments were set. [Result] DPC significantly reduced plant height and branch length, reduced branch angle and leaf area, so the rational control can effectively shape the ideal plant type of machine-harvested cotton. DPC had significant effects on yield and yield components, and the proper amount of DPC could increase the number of bolls during hot days, the number bolls in autumn and the total number of bolls. It increased the boll weight and seed index, but decreased lint percentage decreased, and proper amount of DPC could increase the yield. DPC significantly increased the specific breaking strength of fibers, and proper control could improve the uniformity of fibers, but other indexes had no significant influence. [Conclusion] According to the requirements of machine harvest to the agronomic traits of cotton and the growth characteristics of cotton plant, chemical control could begin after floral bud emergence in cotton about every 10 d, and the spraying amount can be controlled according to the growth amount of the main stem. The daily growth amount of plant height should be controlled at 1.5-1.8 cm, and the plant height should be within 75-90 cm.

Research on Artifact Characteristics and Life Style of Products

As a part of the behavior function extension and the humanities characteristic, product is an entity performance that integrates the technique and culture. In the article, the inherent relation between technique and culture of products is analyzed to reveal the cultural mode of product development from the view of human society development in industry design. These will not only contribute to analyze the relation between notional technique characteristics and humanity, but also help to study the products developed under the inter-relation between life and environment.

A Program of Art Education Exploring Life Issues --By Two Nudity Artworks

The purpose of this essay is to design an art education program based on post-modernist concepts to lead students to contemplate the meaning of life and build their insight about visual imagery of artworks, by looking at two nudity artworks--Edward Munch＇s ＂Puberty＂ and Frida Kahlo＇s ＂The Broken Column＂. The program will look at metaphors and the significance of life in these two artworks. Over and above exploring relative philosophical, aesthetic, historical, hermeneutic, and semiotic domains, the program will be designed in such a way that the intrinsic quality of art will be emphasized. The research method is a visual narrative approach, including image interpretation. Its purpose is to encourage students to consider how they experience life, the emotional elements of life, as well as the spiritual progression, physiological development, anxiety and suffering of life, etc.. The program will also provide students with diverse information and potential ways of thinking about and discussing the issues of life and art by using questions in a learning list. This program will be employed and executed over two hours of class time. It could become the general education teaching material or art curriculum.

Duties of a Cinematographer in Creating a Film

The present article deals with the duties, role and methodical peculiarities of a cinematographer in creating a feature film. The development of creating artistic works in the high creative level and its process is comparatively analyzed within the progress of the Uzbek cinematography.

The Metaphor of Narrative Woods in Eco＇s Work

This paper on Umberto Eco＇s contribution to the narration process, tries to identify the mainstream of modem studies of the text. I have tried to separate it as an entity, which together with other textual techniques and strategies shall create applicable theoretical messages towards an artistic creation. Eco＇s （1994） work itself, gives an opportunity to exemplify his theoretical claims. Using my examples, I have tried to show how a work of art can be rendered narrative, a subject to contemporary techniques and cooperativeness with the reader. One of the main issues I have explained is the time factor, seen from the linguistic and semiotic prospective. I consider that Eco＇s treatment of the relation between reality and fiction is of a semiotic nature. One of the main elements it contains （and definitely makes such a difference possible）, is the time factor. The delay （lingering） part treats works of art separately, and gives one of the ways to render artistic works readable, worth having an aesthetic value, in their way to transmitting a message to the audience.

Exploration of＂the seven-eighths under the water＂： On Hemingway＇s short story Cat in the Rain

Ernest Hemingway is famous for his ＂mastery of the art of modern narration＂. This paper adopts his writing theory-＂iceberg principle＂ and techniques of writing, especially brief repetitions and vague symbols to analyze his short story Cat in the Rain for the purpose of revealing the theme behind the plot.

Beasts of the Devil, Perishables, and the Natura Morta

Bugs have long embodied that from which we seek protection. Whether a mild irritant （a ＂fly in the ointment＂）, a costly pest to gardeners （＂bug of W＂）, or a destructive force of Biblical proportions （a swarm of locusts）, bugs are nature＇s warning of approaching death. This paper investigates the natura morta canvas during the Golden Age of Dutch art, focusing on how these symbols of natural evil work to enliven the visual rhetoric of the still-life as they invite spiritual contemplation. In religious-themed art, we intuitively recognize these morbid creatures as symbols of decay encroaching on domestic scenes filled with food and cut flowers. Emphasizing the short life of these perishables, bugs embody a classic tension and its dichotomous variations： the corporeal vs. the spiritual, earth vs. heaven, and sin vs. redemption. Though ostensibly a peripheral feature of the natura morta, bugs are a decidedly central motif that reflects the viewer＇s struggle with sin： Is it repellent, attractive, or repellently attractive？ This study will concern the visual rhetoric of flies, dragonflies, and bees in the works of Osias Beert, Ambrosius Bosschaert, and Georg Flegel, with an emphasis on the beasts of the devil as icons of Dutch art.

Geopoetical Analysis of Livonia During The Great Northern War Based on The Last Novik A Historical Novel by Ivan Lazhechnikov

The term geopoetics has a wide interpretation. It is defined as a project of the cultural activity aimed at creating and changing territorial myths and research path, which considers the interaction between literary creativity and geographical space. Defining this term, it is possible to introduce a geopoetical analysis diagram based on three interconnected positions： the writer＇s personality, the universe of an artwork and its characters. The Last Novik--A historical novel by Lazhechnikov analysis example presented on a diagram reveals the relationship between time and space in the literary work, as well as the author＇s interaction with the described events.

Ekphrasis in Houellebecq＇s The Map and the Territory as Mise-en-Abyme and as Metafiction

In Michel Houellebecq＇s novel The Map and the Territory （2010）, the references to visual art, painting, and photography take a central place in the narrative. In addition to the verbal representation of artworks, there is an entire system of commentary, interpretation, and criticism of art. The references to visual art appear explicitly as ekphrases which splice the narrative time and again. The unique nature of ekphrasis in The Map and the Territory lies in its representation of art devoid of an origin in the real wodd; for the paintings in The Map and the Territory do not exist in reality but are pure literary paintings, in the full meaning of the word, as the artworks mentioned in the story have an existence restricted to Houellebecq＇s novel. The article analyses the ekphrases in The Map and the Territory and argues that they are a virtual visuality mediated by words, employing solely the technique of ekphrasis as an enhancer of meanings in a text and thereby foregrounding its artifice. It further argues that the ekphrases are open to a field of interpretive possibilities by contemporary society, as every ekphrasis features within it subversion and a contemplation on contemporary reality

The Processualities of Literature

The objective of this paper is to demonstrate that the processual aspect of literary works of art deserves much more attention than it normally receives by readers, critics, and theorists. The most important reason for this is seen in the fact that texts since the advent of print culture have been disseminated and passed on in written form and that in the medium of writing the processual character of language is only insufficiently taken care of by a cultural convention of arranging and approaching the presented signs in an particular sequence. Whereas in an oral culture the dynamic processuality of a speech or recitation was directly experienced by the listeners, the spatial arrangement of signs in writing enables and even entices readers and critics to read this or that part of a written text in a sequence of their own making. What remains out of focus is that in doing so they miss the particular semantic profile and aesthetic character of the work as created by the author--a procedure particularly hurtful in the case of literary works of art. There is hope, however, that this will somewhat change by our moving towards a performance culture

An Assessment of the Role of Art as a Resource for Learning and Development of the Child With Computer Applications

An assessment of the role of Art as a resource for learning and development of the child has become necessary now that education appears to be the yearning of all especially in the developing countries. This paper seeks to assess the role of Art in learning and development of a child. The paper stresses that the child needs Art to learn because children＇s attention is drawn first by pictures （Art works） before letters of Alphabet. According to the paper, children become more knowledgeable and creative as they participate in Art classes where they are given opportunities to express themselves while engaging in drawing and painting exercises. This leads to self-discovery and development in children. By this, entrepreneurial spirit is also imbibed. The paper also notes that children who would not ordinarily want to learn have found pleasure in learning with Art and computer. Here the use of cartoons and animations become appropriate in teaching the child. Children also become more adventurous and creative as they find pleasure in drawing with application software like Corel Draw, Microsoft Paint, and so on. Finally, the paper emphasizes the need for Art to be wholly infused in the curricular of schools especially the primaries. This will be a strong factor or agent of development in children. Here the creative and inventive spirit so developed and imbibed will lead to discoveries of future entrepreneurs, industrialists and technologists for national developments.

Thought Provokers, Insurgent Before Emergency --Technological Art as Awareness-Raising Agent of the Emancipated Spectator

This paper analyzes the impact of technological art as an agent for raising awareness in artwork spectators of ecological-environmental issues. It addresses the evolution in the conception of the artistic fact related to science, and attempts to define the spectator＇s new role. The present document will look into the science, an and technology triad as a means to communicate issues our planet is facing through scientific dissemination focusing on the bio-art avenue for collaboration. Finally, we will outline our concept of an as a revolutionary and thoughtful form poured through our works as artistic collective expressions.