Mendelssohn’s Critique of Lessing’s Laocoon

2017 ◽  
Author(s):  
Frederick Beiser
Keyword(s):  
Moses Mendelssohn ◽  
The Arts ◽  
The One

Frederick Beiser’s chapter demonstrates the palpable impact of Moses Mendelssohn on Lessing’s Laocoon. Mendelssohn composed his own treatise about the differences between the arts in 1757, paying particular attention to hybrid artistic forms that combined ‘natural’ and ‘arbitrary’ signs through their fusion of ‘successive’ and ‘instantaneous’ elements. In his comments on an early draft of Laocoon, Mendelssohn reminded Lessing that poetry—due to the arbitrariness of its signs—could also successfully express objects that coexist with one another rather than consecutive actions in time. Of all Mendelssohn’s comments on Laocoon, Beiser argues, this was the one that most troubled Lessing as he tried to develop a system for understanding ancient ‘poetry’ and ‘painting’.

scholarly journals Attention Modulated Multiple Object Tracking with Motion Enhancement and Dual Correlation

Symmetry ◽  
2021 ◽  
Vol 13 (2) ◽  
pp. 266 ◽  
Author(s):  
Yifeng Wang ◽  
Zhijiang Zhang ◽  
Ning Zhang ◽  
Dan Zeng
Keyword(s):  
Object Tracking ◽  
Multiple Object Tracking ◽  
Tracking Accuracy ◽  
Feature Maps ◽  
Backbone Networks ◽  
Multiple Object ◽  
The Arts ◽  
Training Stage ◽  
The One ◽  
Baseline State

The one-shot multiple object tracking (MOT) framework has drawn more and more attention in the MOT research community due to its advantage in inference speed. However, the tracking accuracy of current one-shot approaches could lead to an inferior performance compared with their two-stage counterparts. The reasons are two-fold: one is that motion information is often neglected due to the single-image input. The other is that detection and re-identification (ReID) are two different tasks with different focuses. Joining detection and re-identification at the training stage could lead to a suboptimal performance. To alleviate the above limitations, we propose a one-shot network named Motion and Correlation-Multiple Object Tracking (MAC-MOT). MAC-MOT introduces a motion enhance attention module (MEA) and a dual correlation attention module (DCA). MEA performs differences on adjacent feature maps which enhances the motion-related features while suppressing irrelevant information. The DCA module focuses on decoupling the detection task and re-identification task to strike a balance and reduce the competition between these two tasks. Moreover, symmetry is a core design idea in our proposed framework which is reflected in Siamese-based deep learning backbone networks, the input of dual stream images, as well as a dual correlation attention module. Our proposed approach is evaluated on the popular multiple object tracking benchmarks MOT16 and MOT17. We demonstrate that the proposed MAC-MOT can achieve a better performance than the baseline state of the arts (SOTAs).

The Style of Walter Frye and an anonymous mass in Brussels, Koninklijke Bibliotheek, manuscript 5557

1992 ◽  
Vol 11 ◽  
pp. 191-221
Author(s):  
Andrew Kirkman
Keyword(s):  
Fifteenth Century ◽  
The Arts ◽  
The One ◽  
Duke Of Burgundy

The Brussels manuscript 5557 is one of the most important sources of the later fifteenth century. Not only is it the one northern manuscript from the period to have survived largely intact, but it was apparently compiled for the chapel of no less a magnate than Charles the Bold, Duke of Burgundy. Presiding over one of the most opulent courts of Europe, Charles was more than just a great patron of the arts: he was an active composer himself. The sophisticated taste of his establishment is reflected in the extraordinary quality of the music in the Brussels manuscript: great masses by Dufay and Regis rub shoulders with most of the surviving motets of Charles's great employee, Antoine Busnoys, while the original nucleus of the manuscript boasts a clutch of English masses rivalled only by that in Trent 93/90.

Hugh of St Victor, Dominicus Gundissalinus and the Place of the Mechanical Arts in Medieval Architectures of Knowledge

2021 ◽  
Vol 153 (3) ◽  
pp. 291-318
Author(s):  
Alexander Fidora ◽  
Nicola Polloni
Keyword(s):  
Middle Ages ◽  
Thirteenth Century ◽  
Liberal Arts ◽  
Natural Philosophy ◽  
Natural Sciences ◽  
The Other ◽  
Human Knowledge ◽  
The Arts ◽  
The One ◽  
Mechanical Arts

This contribution engages with the problematic position of the mechanical arts within medieval systems of knowledge. Superseding the secondary position assigned to the mechanical arts in the Early Middle Ages, the solutions proposed by Hugh of St Victor and Gundissalinus were highly influential during the thirteenth century. While Hugh’s integration of the mechanical arts into his system of knowledge betrays their still ancillary position as regards consideration of the liberal arts, Gundissalinus’s theory proposes two main novelties. On the one hand, he sets the mechanical arts alongside alchemy and the arts of prognostication and magic. On the other, however, using the theory put forward by Avicenna, he subordinates these “natural sciences” to natural philosophy itself, thereby establishing a broader architecture of knowledge hierarchically ordered. Our contribution examines the implications of such developments and their reception afforded at Paris during the thirteenth century, emphasising the relevance that the solutions offered by Gundissalinus enjoyed in terms of the ensuing discussions concerning the structure of human knowledge.

Conclusion: between image, act, body and language

2018 ◽  
pp. 136-141
Author(s):  
Sruti Bala
Keyword(s):  
Social Impact ◽  
The Other ◽  
Participatory Art ◽  
Other Hand ◽  
The Arts ◽  
The Social ◽  
Art Practices ◽  
Participatory Practice ◽  
The One ◽  
Historical Legacies

I have argued throughout this study that participatory art practices need to be understood in conjunction with the anxieties and contradictions that accompany them. Whether or not this is a formally constitutive characteristic worthy of naming as a genre is, in my view, less important than finding ways to account for and be responsive to the questions it poses. This is the place that this study departed from, yet oddly, it also the place it finds itself arriving at. For if this study has inquired into some of the conditions for and articulations of participation in the arts, it has also turned out to be an investigation of the ways in which participation is already circumscribed by the questions we ask of it, such as the social impact of participatory art, or its specific aesthetic features. The frictions in this endeavour will have become apparent to the perceptive reader: on the one hand I attempt to identify commonalities and systematic coherences in a field named as participatory art, and on the other hand I seek to analyse it in terms of its deviations from, and incommensurability with, a systematic narrative, in the emphasis of unruly, subtle, non-formalizable modes of participation. I treat participatory art as an inherited category, looking at its diverse, specific operations, or disciplinary routes and historical legacies. At the same time, I try to alter the terms of received wisdom by extrapolating principles and observations from the confines of one disciplinary arena into another. I search for ways in which affiliation to a given type of participatory practice might be described, only to find that formal coherences are perforated by aspects that exceed those same terms of affiliation. The analysis of participatory art and the conceptualization of participation in and through art thereby become intertwined in complex ways....

Art and Brand Contamination

2019 ◽  
pp. 339-354
Author(s):  
Marta Massi ◽  
Chiara Piancatelli ◽  
Sonia Pancheri
Keyword(s):  
Popular Culture ◽  
The Other ◽  
Brand Awareness ◽  
Arts Organizations ◽  
High Culture ◽  
Goods And Services ◽  
The Arts ◽  
Low Culture ◽  
The One ◽  
Cross Fertilization

Albeit often perceived as two worlds apart, low culture and high culture are increasingly converging to collaborate in mutually advantageous ways. Brands—including the name, term, sign, symbol, or combination of them that identify the goods and services of a seller or group of sellers, and differentiate them from those of the competitors—are the new territory where high culture and low culture co-exist and collaborate, creating new possibilities of cross-fertilization and hybridization between the two. Through the analysis of successful examples coming from different industries, this chapter aims to highlight how brands have blurred the distinction between low culture and high culture. On the one hand, brands can use the heritage of the arts world to gain authenticity and legitimate themselves in the eyes of consumers and the society. On the other hand, artists and arts organizations, such as museums and other art institutions, can indulge in popular culture in order to become appealing to younger target markets and enhance their brand awareness and image.

Epilogue

2021 ◽  
pp. 158-162
Keyword(s):  
Teaching And Learning ◽  
Music Teachers ◽  
Emotional Health ◽  
Music Teaching ◽  
Social Emotional ◽  
Music Making ◽  
The Arts ◽  
Global Pandemic ◽  
The One ◽  
Music And The Arts

The epilogue addresses the observations of the editors and authors of this volume regarding their observations of the pedagogical shifts needed to address music teaching and learning during a global pandemic such as the one unleashed by Covid-19. When a great deal of musicking, teaching, and learning needed to happen remotely, having access to technology and understanding how to employ it for supporting creative and collaborative music making and remote instruction was of paramount importance for many music teachers and musicians. Yet for too many students and school districts around the globe, the digital divide heightened the lack of educational equity in countless communities. While many districts merely focused on content delivery though whatever digital or non-digital means were available, the authors noted the crucial role that a focus on social-emotional learning plays in the lives of our students, with a particular emphasis on how music and the arts can support our emotional health and sense of connection.

Library - Lab - Research

2017 ◽  
Vol 42 (4) ◽  
pp. 185-188
Author(s):  
Tabea Lurk
Keyword(s):  
Information Service ◽  
Knowledge Bases ◽  
Raw Material ◽  
Research Knowledge ◽  
Art And Design ◽  
The Arts ◽  
Work Cycle ◽  
Research And Education ◽  
The One ◽  
The University

The Mediathek of the Fachhochschule Nordwestschweiz Basel (FHNW) is a remarkable place. It's shaped, on the one hand, by the demands it must meet in functioning as the central information hub of the Faculty of Art and Design (Hochschule für Gestaltung und Kunst - HGK). On the other hand its exposed location on the Campus der Künste (art campus) and its specific spatial plan determine the everyday work. Positioned between research and education, the Mediathek HGK functions as an intermediary, with the character of a laboratory: it provides access to important knowledge bases and makes content available in a way which enables experimental, creative and yet also systematic forms of research. Knowledge, in the sense of classified information, becomes a resource and raw material for the arts and design. New, digital contents must be made as available and accessible as archived (post-research) or historical material. A creative work cycle is enabled, which continually questions, implements, refines and forgets materials and resources.1Both the dynamic agility of the university itself and the focus on always questioning the adequacy, timeliness, relevance, potential, etc. of the theme of information service, results in continuous developments at the Mediathek (bibliotheca semper reformanda est).

Student Microscopes, A View from Down in the Trenches

2000 ◽  
Vol 6 (S2) ◽  
pp. 1172-1173
Author(s):  
S. P. Newberry
Keyword(s):  
Teacher Training ◽  
Grade Level ◽  
High Technology ◽  
Public And Private ◽  
Projection System ◽  
The Arts ◽  
The One ◽  
The Cost

The use of microscopes in education has proved be a powerful tool in grades K through 12 for catching the student's interest in the sciences, the humanities and the arts. While the equipment and the approach varies with the grade level, the questions of availability, teacher training and cost are each important to obtaining full and successful use of microscopes in the classroom. The one item which is beyond the control of the school is the high cost of appropriate quality microscopes. A projection system capable of showing bacteria should be available to the teacher at all times and a number of microscopes which the students can use themselves should also be present Because of the cost, many schools, both public and private, have only one microscope room or share one set of microscopes for the entire school. The result is a study of the tool rather than using the tool to better appreciate history, ecology, high technology, medicine, and so forth.

Closing remarks

1975 ◽  
Vol 345 (1643) ◽  
pp. 601-605
Keyword(s):  
General Public ◽  
Public Information ◽  
Local Environment ◽  
Success Story ◽  
Small Areas ◽  
Broadcast Communication ◽  
The Arts ◽  
Educational Programmes ◽  
To Come ◽  
The One

I said in my opening remarks that we wanted to discuss during these two days the relation between, on the one hand, the world’s problems regarding the educational needs of its majorities and, on the other hand, the enormous developments in what I call the arts and the technologies of broadcast communication. There has been a danger of neglecting what I put first, the great developments in the arts of broadcast communication (as well as of the technologies), and I want to come back to that point. Starting with the technologies, I think that this exchange of information has been useful because there is still a lack of general public information about what has been achieved in the technologies of broadcast communication by satellite. As Dr Smith said, ‘the technology has worked’, and in that respect there has been a success story in at least the strictly technological sense. On the one hand we have the very good reliabilities and availabilities of the Intelsat system, as mentioned by Mr Jowett. At the same time, however, the educational satellites have their own frequency allocations, as Sir Michael reminded us. The ATS-F satellite, as we have been told by Mr Norwood, is the most powerful communication satellite yet developed and it has been well adapted to the particular problems concerned. I believe that the general public is not aware of this remarkable development of an attitude-controlled geostationary satellite transmitting on a 1° beam. Much is said about the need to match educational programmes to local or to regional needs and about the fact that the local environment is the environment in which the teaching must take place, but with this narrow-beam satellite, of course, this need has to some extent been met. A very good example is the fact that quite small areas of India can be served with separate programmes through the medium of this satellite.

Intercultural interactions in the painting arts education: "Azerbaijani painters example in Turkey"

2016 ◽  
Author(s):  
Ayhan Ozer
Keyword(s):  
The Other ◽  
Intercultural Interaction ◽  
The Arts ◽  
Speed Up ◽  
Universal Values ◽  
The Subject ◽  
Intercultural Interactions ◽  
The One ◽  
Near Future ◽  
And Training

Teaching of the arts which include universal values and rules in essence ,in spite of containing local signs, should be formed by universal criteria’s and the richness, and contain diversity as well.  Intercultural interaction is an opportunity that may offer important advantages to this diversity. To be the subject of education and training of the arts, which is almost in the same age with humanity, in Turkey coincides with relatively near future. Turkish art education institutions, trying to fit the process of understanding hundreds of years of tradition and rules into a few decades, tried to speed up this process by going especially western countries or bringing artists from there. While the number does not exceed fingers of two hands especially in the last ten-fifteen years, now the expression of these numbers with three-digit numbers made the need for qualified instructors preferred. On the one hand this case contains various handicaps, but on the other hand, it can be considered as an opportunity. These study opportunities were designed to detect the sample.Keywords: art, intercultural interaction, Azerbaijani painters.

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