scholarly journals I. On mauve or aniline-purple

1863 ◽  
Vol 12 ◽  
pp. 713-715 ◽  

The discovery of this colouring matter in 1856, and its introduction as a commercial article, have originated that remarkable series of compounds known as Coal-tar colours, which have now become so numerous, and, in consequence of their adaptability to the arts and manufactures, are of such great and increasing importance. The chemistry of mauve may appear to have been rather neglected, its composition not having been established, although it has formed the subject of several papers by continental chemists. Its chemical nature also has not been generally understood; and it is to this fact that many of the discrepancies between the results of the different experimentalists who have worked on this subject are to be attributed.

1864 ◽  
Vol 13 ◽  
pp. 170-176 ◽  

The discovery of this colouring matter in 1856, and its introduction as a commercial article, has originated that remarkable series of compounds known as coal-tar colours, which have now become so numerous, and in consequence of their adaptibility to the arts and manufactures are of such great and increasing importance. The chemistry of mauve may appear to have been rather neglected, its composition not having been established, although it has formed the subject of several papers by continental chemists. Its chemical nature also has not been generally known; and to this fact many of the discrepancies in the results of the different experimentalists who have worked on this subject are to be attributed. The first analysis I made of this colouring matter was in 1856, soon after I had become its fortunate discoverer. The product I examined was purified as thoroughly as my knowledge of its properties then enabled me, and the results obtained agree very closely with those required for the formula I now propose. Since that time I have often commenced the study of this body in a scientific point of view, but other duties have prevented me from completing these investigations; but, although unacquainted with its correct formula, its chemical characters have necessarily been well known to me for a considerable time. When first introduced, commercial mauve appeared as an almost perfectly amorphous body ; but now, owing to the great improvements which have been made in its purification, it is sent into the market perfectly pure and crystallized.


2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.


2021 ◽  
Author(s):  
Eva Hellreich

How can arts-based methodologies offer unique insights into contemporary migration and settlement experiences? Informed by qualitative research and a literature review which analyzes identity theory, social construction theory, and Canadian art organizations which support newcomer artists, this paper explores the potential for the intersection of the arts in immigration and settlement assessment. An exploratory investigation of the theory of art as linked to migration is illuminated by the experiences of a group of artists who have gone through a significant migratory experience and share their reflections on being artists in Canada. This paper argues that analyzing art created by immigrant artists offers insight into the contemporary Canadian immigration experience which quantitative data is unable to capture. Learning about the barriers which immigrant artists face through using arts-based research includes the subject in the research, thereby empowering and validating their lived experiences as valuable epistemologies and ontologies. Findings reveal the impact of acculturation on the identities of and opportunities available to immigrant artists in Canada. Key Words: Immigrant Art; Immigration and Toronto; Place-making; Acculturation; Hybridity; Identity


2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Cosetta Saba

This essay collects the first results of a reflection launched in the context of the Conference "The Arts of the 1900s and Carmelo Bene" curated by Edoardo Fadini and based in Turin, at the Gallery of Modern Art, between 24 and 26 October 2002. The intent is to focus on how in the first phase of the interdisciplinary practice of Carmelo Bene, between the Sixties and the Seventies, an aesthetic reflection and a deconstructive attitude emerge that involve questions (such as the subject, subjectivity and singular / plural dimension of art) that were being defined in the philosophical field and in the extended field of art during the second half of the twentieth century.


Author(s):  
P. Ravi Shankar

Medical Humanities (MH) provide a contrasting perspective of the arts to the ‘science’ of medicine. A definition of MH agreed upon by all workers is lacking. There are a number of advantages of teaching MH to medical students. MH programs are common in medical schools in developed nations. In developing nations these are not common and in the chapter the author describes programs in Brazil, Turkey, Argentina and Nepal. The relationship between medical ethics and MH is the subject of debate. Medical ethics teaching appears to be commoner compared to MH in medical schools. MH programs are not common in Asia and there are many challenges to MH teaching. Patient and illness narratives are become commoner in medical education. The author has conducted MH programs in two Nepalese medical schools and shares his experiences.


Author(s):  
Arthur W. Burks

This is the story of how, in 1957, John Holland, a graduate student in mathematics; Gordon Peterson, a professor of speech; the present writer, a professor of philosophy; and several other Michigan faculty started a graduate program in Computers and Communications—with John our first Ph.D. and, I believe, the world's first doctorate in this now-burgeoning field. This program was to become the Department of Computer and Communication Sciences in the College of Literature, Science, and the Arts about ten years later. It had arisen also from a research group at Michigan on logic and computers that I had established in 1949 at the request of the Burroughs Adding Machine Company. When I first met John in 1956, he was a graduate of MIT in electrical engineering, and one of the few people in the world who had worked with the relatively new electronic computers. He had used the Whirlwind I computer at MIT [33], which was a process-control variant of the Institute for Advanced Study (IAS) Computer [27]. He had also studied the 1946 Moore School Lectures on the design of electronic computers, edited by George Patterson [58]. He had then gone to IBM and helped program its first electronic computer, the IBM 701, the first commercial version of the IAS Computer. While a graduate student in mathematics at Michigan, John was also doing military work at the Willow Run Research Laboratories to support himself. And 1 had been invited to the Laboratories by a former student of mine, Dr. Jesse Wright, to consult with a small research group of which John was a member. It was this meeting that led to the University's graduate program and then the College's full-fledged department. The Logic of Computers Group, out of which this program arose, in part, then continued with John as co-director, though each of us did his own research. This anomaly of a teacher of philosophy meeting an accomplished electrical engineer in the new and very small field of electronic computers needs some explanation, one to be found in the story of the invention of the programmable electronic computer. For the first three programmable electronic computers (the manually programmed ENIAC and the automatically programmed EDVAC and Institute for Advanced Study Computer) and their successors constituted both the instrumentation and the subject matter of our new Graduate Program in Computers and Communications.


Archaeologia ◽  
1916 ◽  
Vol 67 ◽  
pp. 145-162
Author(s):  
C. Hercules Read ◽  
Reginald A. Smith

The important series of antiquities that forms the subject of this communication was discovered at Hallstatt in the Salzkammergut, Austria, about the year 1869. The exploration was undertaken at the instance of Sir John Lubbock (afterwards Lord Avebury), and it is believed that a journal was kept of the daily results, as appears to have been the case in all instances where authorized digging took place on the site. Unluckily in the interval between 1869 and the present time the journal referring to Lord Avebury's exploration has disappeared, and we thus lack an important part of the information that it should have furnished, viz. the indications as to what objects were associated together, and whether the interments to which they belonged were by cremation or by inhumation. While this loss is much to be regretted, yet the absolute value and importance of the series is still very great, both as typical of the period which stands prominent as the classical example of a cultural turning-point in the history of the arts, and as filling a very serious gap in the evolutionary series in the national collection.


2018 ◽  
Vol 24 (1-2) ◽  
pp. 137-165 ◽  
Author(s):  
Heidi Kellett

In this article, I consider ‘skin portraiture’: a mode of representation that privileges quasi-anonymous, fragmented, magnified and anatomized images of skin. I argue that this mode of representation permits a heightened awareness of embodied experiences such as reflexivity, empathy and relationality. Expanding understandings of difference through its engagement with haptic imagery and visuality, skin portraiture reorients the boundaries between ‘I’/‘not I’ and subject/object – often through touch – and challenges the cultural commitment to traditional notions of bodily autonomy. By doing so, skin portraiture functions as an antagonistic form of portraiture; that is, as a kind of anti-portraiture that pushes the genre into an expanded visual field and, at times, beyond representation. Exploring the skin-as-technology metaphor, I show that bio art skin portraiture creates chimeric skins through tissue culturing practices, permitting bodies to become radically relational. Bio art skin portraits celebrate the genetic and cellular differences between bodies through a visible collapse of epidermal boundaries, which engenders a hyper-haptic mode of seeing beyond the subject and her or his skin. Analysing the bio art of Jalia Essaïdi, ORLAN and Julia Reodica, and drawing on the work of Laura Marks and Erin Manning, this article explores the skin-as-technology metaphor in order to offer the arts and humanities an innovative understanding of contemporary embodiment.


2005 ◽  
Vol 32 ◽  
pp. 479-484 ◽  
Author(s):  
Foluke Ogunleye

From time immemorial human beings have sought to document their activities in realistic forms in order to pass across information about their lives to posterity. Even before the advent of cinematography, human beings had attempted to show life, not as static, but as dynamic. Cave paintings done by early men have shown an attempt to demonstrate movement through drawings of animals with many legs, designed to simulate motion. Also, attempts at showing moving images have included the shadow plays of North Africa and India, puppetry in many parts of the world, the pot art of India, etc. These activities presented the culture of the people and showed how icons are developed, what they stand for in the people's lives, and how people made meaning out of their lives and activities. With the development of the arts of cinematography and television, these also became vehicles to document happenings and events in the lives of the people.In this study, I discuss the television docudrama as an alternative means of documenting history. There are many reasons necessitating an alternative source of documenting history, but two examples from Nigeria will suffice to justify this position. The powers-that-be in Nigeria have decreed that it is no longer necessary to study history in primary and secondary schools, and the subject has been removed from the curriculum. Consequently, if a Nigerian citizen does not go to a tertiary institution to study history, the past of her/his people will forever remain a mystery to her/him. Currently, there is a very lively debate in Nigeria about the origins of the Yoruba people. Traditional rulers, who are supposed to be the custodians of history, are at loggerheads with each other and with eggheads in history departments. The traditional rulers are bringing out diverse facts and evidence that differ from previously written histories.


Author(s):  
Ayhan Ozer

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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