Impulsive Artistic Creativity as a Presentation of Transient Cognitive Alterations

1991 ◽  
Vol 17 (2) ◽  
pp. 91-94 ◽  
Author(s):  
Yoram Finkelstein ◽  
Jacob Vardi ◽  
Israel Hod
Keyword(s):  
Artistic Creativity ◽  
Cognitive Alterations

Unexpected artistic creativity

1999 ◽  
Vol 41 (3) ◽  
pp. 211-211
Author(s):  
Neil Gordon
Keyword(s):  
Artistic Creativity

Presence in Absence

2011 ◽  
Vol 56 (2) ◽  
pp. 79-100
Author(s):  
Rachel Esner
Keyword(s):  
19Th Century ◽  
Social Structures ◽  
Artistic Creativity ◽  
Oder Eine ◽  
Exhibition Space ◽  
Working Space ◽  
Romantic Era ◽  
Sozialer Raum ◽  
The 19Th Century ◽  
Artistic Self

Seit der Epoche der Romantik bringen viele der Diskurse, die künstlerische Kreativität betreffen, den Künstler und seinen Arbeitsraum zusammen: Die Werkstatt wird als ein Spiegel des Künstlers und seines Werks angesehen, als ein Heiligtum, ein sozialer Raum oder eine Ausstellungsfläche. Ein populärer bildlicher Topos der Zeit war die Darstellung des leeren Ateliers. Der vorliegende Beitrag versteht das Bild des leeren Ateliers im 19. Jahrhundert als ein Selbstporträt des Künstlers. Er untersucht, wie die Darstellung des Raums und seiner Objekte dem Gemälde die Präsenz des Künstlers einschreiben und sein bzw. ihr künstlerisches  Selbstverständnis innerhalb der sich verändernden künstlerischen und sozialen Strukturen der Epoche wiedergeben.<br><br>From the Romantic era onward, many of the discourses surrounding artistic creativity have merged the artist and his working space: the place of work is viewed as the mirror of the man and his oeuvre, a sanctuary, a social or an exhibition space. A popular topos in this context was the view of the empty studio. This paper explores the 19th-century empty studio image as a self-portrait of the artist. It examines how the depictions of the space and its objects work to inscribe the artist’s presence, and to express his or her  artistic self-conception and identity within the changing artistic-social structures of the period.

scholarly journals Oxidative Stress and Cognitive Alterations Induced by Cancer Chemotherapy Drugs: A Scoping Review

Antioxidants ◽  
2021 ◽  
Vol 10 (7) ◽  
pp. 1116
Author(s):  
Omar Cauli
Keyword(s):  
Oxidative Stress ◽  
Cancer Patients ◽  
Repeated Administration ◽  
Caffeic Acid Phenethyl Ester ◽  
Scientific Basis ◽  
Clinical Settings ◽  
Chemotherapy Drugs ◽  
Scientific Attention ◽  
The Brain ◽  
Cognitive Alterations

Cognitive impairment is one of the most deleterious effects of chemotherapy treatment in cancer patients, and this problem sometimes remains even after chemotherapy ends. Common classes of chemotherapy-based regimens such as anthracyclines, taxanes, and platinum derivatives can induce both oxidative stress in the blood and in the brain, and these effects can be reproduced in neuronal and glia cell cultures. In rodent models, both the acute and repeated administration of doxorubicin or adriamycin (anthracyclines) or cisplatin impairs cognitive functions, as shown by their diminished performance in different learning and memory behavioural tasks. Administration of compounds with strong antioxidant effects such as N-acetylcysteine, gamma-glutamyl cysteine ethyl ester, polydatin, caffeic acid phenethyl ester, and 2-mercaptoethane sulfonate sodium (MESNA) counteract both oxidative stress and cognitive alterations induced by chemotherapeutic drugs. These antioxidant molecules provide the scientific basis to design clinical trials in patients with the aim of reducing the oxidative stress and cognitive alterations, among other probable central nervous system changes, elicited by chemotherapy in cancer patients. In particular, N-acetylcysteine and MESNA are currently used in clinical settings and are therefore attracting scientific attention.

Political Intimacy

2011 ◽  
Vol 25 (4) ◽  
pp. 658-677 ◽  
Author(s):  
Neringa Klumbytė
Keyword(s):  
Communist Party ◽  
Central Committee ◽  
The State ◽  
Artistic Creativity ◽  
Political Dialogue ◽  
The Public ◽  
Shared Meanings ◽  
Political Aesthetics ◽  
Late Socialism ◽  
Power Orders

This article explores intersections between power, subjectivity, and laughter by focusing on Šluota ( The Broom), a humor and satire journal published by the Central Committee of the Lithuanian Communist Party during late socialism (1970s to mid-1980s). In Lithuania, while the official newspapers and journals were commonly distrusted, The Broom was perceived as a grassroots media. In this article, the author asks how officially sanctioned socialist humor was translated into readers’ sincere laughter; how sensual and political dialogue was created between state authorities, artists, and readers. The author shows that in the case of the official culture of humor presented in The Broom, laughter cannot be easily classified as performance of resistance or support for the regime. In The Broom, the discourse of power was never monologic and simply oppressive. It was situational, contextual, and changing. Officially sanctioned laughter was infused with and mediated by private emotions and values. Moreover, the journal provided space for artistic creativity and self-expression that reshaped official political aesthetics. Laughter blurred the distinctions between the state and the citizen, the public and the private, the hegemonic and the sincere. The author argues that laughter is an experience and a performance of political intimacy through which various agents imagine a self, society, and the state and reproduce various power orders. Political intimacy refers to coexistence of state authorities and other subjects in fields of social and political comfort, togetherness, and dialogue as well as in the zones of shared meanings and values.

Culture as a Market: “Inspiration Is Not for Sale”?

2021 ◽  
pp. 5-17
Author(s):  
Liudmila A. Bulavka-Buzgalina ◽  
Keyword(s):  
21St Century ◽  
Modern Society ◽  
Dual Nature ◽  
Artistic Creativity ◽  
Artistic Creation ◽  
Market Relations ◽  
Total Market

Considering artistic creativity through the prism of socio-philosophical prob­lems, the author reveals the reasons and the course of the increasing subordina­tion of culture to the market and capital in the process of evolution of modern society. The article shows that this subordination becomes most intense due to the expansion of the total market of simulacra – a system that is becoming dominant in the 21st century. The dominance of simulacra on the market de­velops to the extent that the main object of not only economic, but all social transactions are signs that have no basis (denotatum) – simulacra. This process of increasing subordination to the total market of simulacra extends not only to the external (sale of the results of artistic creation, which was typical for the previous market), but also to the internal life of culture, including the goals, values, motives of the artist’s activity and transforming co-creativity into alien­ated market relations. This transformation is transforming the market for manuscripts into a market for “inspiration”. The author identifies contradic­tions specific to this process, including the dual nature of the brand, artifact, glamour and the measure of the transformation of cultural phenomena into an “empty sign”.

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