沉浸式艺术审美体验的自我发现与再设计

探讨沉浸式艺术这一新概念，研究其审美体验是如何有助于自我发现并运用于艺术创作再设计中的。沉浸式艺术是一种能够启发感知联觉的审美体验方式，可使人们重新思考自己与“世界”(真实和虚拟)之间的关系。“感知”、“关系”和“转换”是三个相互交织并贯穿全文的主要问题，同时也是沉浸式艺术的研究基础。结合海德格尔“在世界上”(être-au-monde) 的观念来看，与其说“存在”，不如说人们沉浸并感知于这个世界中。然而，人们对周围环境的感知通常是无意识的，对于感知的认识也时常是冷漠和忽视的。沉浸式艺术使这些感觉得以被强调，它突出了个人的感知运动能力，同时也引起了人们对身体本身的重视。又如Bergson所提出的“投机性关注是建立在一种感知机制的基础上的，这种感知机制从根本上允许对世界进行一定行动而不是仅仅了解这个世界”。因此，对于一个完善的沉浸式审美体验过程来说，重要的是使观众自然地参与其中。当无意识的行为转换为肉眼可见的视觉效果时，审美体验将会更加深入人心。因此关于沉浸式艺术作品的创作，可以结合西方艺术家Marcel Duchamp的Ready-made的创作理念和中国道家的“无为”思想，研究怎样将被忽视的日常行为自然地转换为可见的，被重视的视觉效果，从而揭发主体与“世界”之间的多种潜在关系。     

Antioxidant and antimicrobial potential of cajazeira leaves (Spondias mombin) extracts

Cajazeira leaves (Spondias mombin) have their highlighted use as antioxidant and natural antimicrobial, which justifies the objective of this work to evaluate the biological activities of different extracts. In order to evaluate the antioxidant and antimicrobial potentials of the cajazeira leaves, extractions at low pressure and high pressure were performed. The low pressure extractions (PLE) were carried out using Soxhlet (SOX) and tip ultrasound, using different solvents. Supercritical fluid extraction (SFE) was evaluated at temperature of 40?60°C and pressure of 150?300 bar besides extraction with cosolvent. Higher yields were obtained with the use of more polar solvents at LPE. The extracts obtained by SOX with ethanol and others polar solvents presented the best TPC values and antioxidant activity. The extracts at LPE with hexane and ethyl acetate and SFE presented better antimicrobial activity. Through liquid chromatography of high efficiency, it was possible to identify compounds with recognized biological activity, like ellagic acid, gallic acid and catechin.     

A general framework to study the price‐color relationship in paintings with an application to Mark Rothko rectangular series

We propose a general framework to study the relationship between the price of a painting and its color‐related attributes. To this end we focus on four key aspects: dominant colors, features of the color palette, color harmony, and color emotions. We demonstrate the usefulness of this approach with an example based on Mark Rothko's post‐1950 paintings (the “rectangular” series), and auction data from the 1994 to 2018 period. We identify two distinct price‐color regimes in Rothko's market: (a) [1994‐2005], a period in which prices are explained mainly by the growing popularity of the artist regardless of the color attributes of the paintings sold; and (b) [2006‐2018], a period in which color‐related attributes explain most of the prices. Furthermore, we find that in this second period, the dominant colors and the diversity of the color palette, are by far the most relevant attributes that influence the price; color harmony and color emotions hold almost no explanatory power during this period. Finally, we propose a new metric based on the Herfindahl Index to describe color diversity; this metric seems to be promising at characterizing the effect of the color palette on the price of a painting.     

Tactile colour pictogram to improve artwork appreciation of people with visual impairments

A recent development in tactile technology enables an improvement in the appreciation of the visual arts for people with visual impairment (PVI). The tactile sense, in conjunction with, or a possibly as an alternative to, the auditory sense, would allow PVIs to approach artwork in a more self‐driven and engaging way that would be difficult to achieve with just an auditory stimulus. Tactile colour pictograms (TCPs), which are raised geometric patterns, are ideographic characters that are designed to enable PVIs to identify colours and interpret information by touch. In this article, three TCPs are introduced to code colours in the Munsell colour system. Each colour pattern consists of a basic cell size of 10 mm × 10 mm to represent the patterns consistently in terms of regular shape. Each TCP consists of basic geometric patterns that are combined to create primary, secondary, and tertiary colour pictograms of shapes indicating colour hue, intensity and lightness. Each TCP represents 29 colours including six hues; they were then further expanded to represent 53 colours. Two of them did not increase the cell size, the other increased the cell size 1.5 times for some colours, such as yellow‐orange, yellow, blue, and blue‐purple. Our proposed TCPs use a slightly larger cell size compared to most tactile patterns currently used to indicate colour, but code for more colours. With user experience and identification tests, conducted with 23 visually impaired adults, the effectiveness of the TCPs suggests that they were helpful for the participants.     

传统建筑材料在当代环境艺术设计中的运用与研究

在经济不断发展的大背景下,人们的审美意识也不断增强,对于建筑材料与环境艺术的融合提出了更高的要求,并在现在的环境艺术设计中加入了更多新鲜有趣的理念。然而由于固有理念的束缚和一味求新、求变思想的出现,对于传统建筑材料的使用却遇到了不足。其实,在当代环境艺术设计中,环境设计的基本元素,不仅要能表现艺术,在视角和造景效果上也要能体现出很大的美学价值。本文结合当前传统建材料的应用情况,对其与当代环境艺术设计的结合做一个简单的阐述,对实际设计的美学造诣深入探究,让有价值的传统建筑材料绽放光彩。     

浅谈传统建筑材料在当代环境艺术设计中的运用

建筑作为一种艺术形式,有着极其深远的历史。本文主要通过传统建筑材料的装饰艺术形式来探讨其在当代环境艺术设计中的运用。     

中国观念艺术发展症候分析

中国观念艺术三十多年的发展,是一场"没有坐标的运动。"中国观念艺术曾在一定时期和范围内偏离了人本主义思想的轨迹,没有沿着健康的道路发展。本文将从"后殖民化"与"本土化""智力"与"智慧""大众"与"精英"三悖论,对中国观念艺术发展的症候进行分析。     

文人画对陶瓷绘画创作的影响

陶瓷绘画最早可以追溯到彩陶时期,陶瓷与绘画相互交融发展。至今,文人画的审美精神和文化内涵一直影响着当代陶瓷绘画,在画面的表现形式和内在精神上都极具中国传统文化的艺术精神。     

内蒙古察哈尔蒙古族传统服饰的简繁艺术特征解读

察哈尔传统服饰是蒙古族28个部落传统服饰中的一支,具有突出的形制之简、色彩之素、头饰之繁、佩饰之多的艺术特征,在众多的蒙古族服饰中独树一帜。文章通过对察哈尔蒙古族现主要居住地锡林郭勒和乌兰察布地区的田野调查和历史文献调研,运用艺术学和民俗学的视角,概括其独特的简繁艺术特点,探讨该族群如何通过适简与从繁的服饰礼仪功能来构建民俗生活。研究表明,察哈尔蒙古族传统服饰的简与繁不仅是一种艺术特征,也是族群历史记忆的载体和身份建构的工具,其形成原因受到历史中军事职能、宫廷文化和游牧生活三者的共同塑造,并影响至今。     

服装设计中茶艺元素的创新与应用

茶艺是我国传统文化的重要组成部分,在我国有着悠久的历史。现代社会弘扬传统文化,也为茶艺文化的发展创新带来了新的繁荣,茶艺受到国内外许多人士的喜爱。而茶艺元素也被广泛应用于服装设计中,现代服装设计与传统茶文化的融合,使得传统文化焕发新的生机。文章主要分析了服装设计中如何更好地运用茶艺元素。