The Role of Myths in Japanese Calligraphy’s Interpretative Process

Ioana-Ciliana Tudorică;

doi:10.24193/subbphilo.2021.4.22

The Role of Myths in Japanese Calligraphy’s Interpretative Process

Studia Universitatis Babeș-Bolyai Philologia ◽

10.24193/subbphilo.2021.4.22 ◽

2021 ◽

Vol 66 (4) ◽

pp. 353-366

Author(s):

Ioana-Ciliana Tudorică ◽

Keyword(s):

Zen Buddhism ◽

Abstract Art ◽

Visual Elements ◽

Japanese Studies

The Role of Myths in Japanese Calligraphy’s Interpretative Process. This article illustrates the role of myths in the interpretative process of calligraphic works. Being considerably different from Western calligraphy, Japanese calligraphy (shodō) may seem at times visually similar to abstract art. However, calligraphic works – and shodō as art – are rich in meaning and abundant of myths. Focusing on both linguistic and visual elements of calligraphy, the article depicts how myths can be identified in a calligraphic work and how they provide a better understanding of the particularities of shodō. In order to illustrate how myths uncover new layers of meaning, the article incorporates an analysis of a calligraphic work created by Rodica Frențiu, underlining the process of accessing the transcendent meaning. Keywords: shodō, Japanese calligraphy, calligraphy, cultural semiotics, Japanese studies, kanji, myth, Zen, Buddhism.

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The Role of AI Attribution Knowledge in the Evaluation of Artwork

Empirical Studies of the Arts ◽

10.1177/0276237421994697 ◽

2021 ◽

pp. 027623742199469

Author(s):

Harsha Gangadharbatla

Keyword(s):

Interaction Effect ◽

Purchase Intentions ◽

Abstract Art ◽

Survey Experiments ◽

People’S Attitudes

Artwork is increasingly being created by machines through algorithms with little or no input from humans. Yet, very little is known about people’s attitudes and evaluations of artwork generated by machines. The current study investigates (a) whether individuals are able to accurately differentiate human-made artwork from AI-generated artwork and (b) the role of attribution knowledge (i.e., information about who created the content) in their evaluation and reception of artwork. Data was collected using an Amazon Turk sample from two survey experiments designed on Qualtrics. Findings suggest that individuals are unable to accurately identify AI-generated artwork and they are likely to associate representational art to humans and abstract art to machines. There is also an interaction effect between attribution knowledge and the type of artwork (representational vs. abstract) on purchase intentions and evaluations of artworks.

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Anime in Academia: Representative Object, Media Form, and Japanese Studies

Arts ◽

10.3390/arts7040056 ◽

2018 ◽

Vol 7 (4) ◽

pp. 56 ◽

Cited By ~ 1

Author(s):

Jaqueline Berndt

Keyword(s):

National Culture ◽

Academic Research ◽

Vital Role ◽

Popular Media ◽

Media Ecology ◽

Methodological Issues ◽

Research And Teaching ◽

Japanese Studies ◽

Media Form

The transcultural consumption of Japan-derived popular media has prompted a significant amount of academic research and teaching. Instead of addressing globalization or localization as such, this article investigates the interplay of anime research and the institution of Japanese studies outside of Japan, addressing recurrent methodological issues, in particular, related to representation and mediation, intellectual critique and affective engagement, subculture and national culture. The inclination towards objects and representation in socio-cultural as well as cinema-oriented Japanese-studies accounts of anime is first introduced and, after considering discursive implications of the name anime, contrasted with media-studies approaches that put an emphasis on relations, modalities, and forms. In order to illustrate the vital role of forms, including genre, similarities between TV anime and Nordic Noir TV drama series are sketched out. Eventually, the article argues that the study of anime is accommodated best by going beyond traditional polarizations between text and context, media specificity and media ecology, area and discipline.

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Gender Equality Messages in Film Marlina The Murderer In Four Acts

JCommsci - Journal of Media and Communication Science ◽

10.29303/jcommsci.v2i3.57 ◽

2019 ◽

Vol 2 (3) ◽

pp. 136

Author(s):

Husen Mulachela ◽

Aurelius RL Teluma ◽

Eka Putri Paramita

Keyword(s):

Gender Equality ◽

Roland Barthes ◽

Scene Analysis ◽

Unit Of Analysis ◽

Visual Elements ◽

Analysis Process

This research trying to analyze the meaning of symbols in the film Marlina The Murderer in Four Acts based on the indicators of gender equality namely, access, participation, control, and benefits. The unit of analysis in this study includes the audio and visual elements that exist in a selected scene for later analysis using the Roland Barthes semiotic method known as the "two order of signification" to find the meaning of denotation and connotation meanings and myths contained in both order systems. The whole series in this study refers to the framework of thinking with the aim of answering the formulation of the problem in research. From the results of the study, researchers found as many as 17 scenes containing the message of gender equality by including indicators of gender equality both in audio and visual elements. After going through the scene analysis process using the Roland Barthes semiotics method, control indicators in gender equality are found more prominently in films, then followed by indicators of access, participation, and benefits. This shows how the important role of control indicators in gender equality is applied so that other indicators can work.Keywords: Semiotic; film; gender equality; Marlina the Murderer in Four Acts

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Multisensory Integration during Short-term Music Reading Training Enhances Both Uni- and Multisensory Cortical Processing

Journal of Cognitive Neuroscience ◽

10.1162/jocn_a_00620 ◽

2014 ◽

Vol 26 (10) ◽

pp. 2224-2238 ◽

Cited By ~ 20

Author(s):

Evangelos Paraskevopoulos ◽

Anja Kuchenbuch ◽

Sibylle C. Herholz ◽

Christo Pantev

Keyword(s):

Multisensory Integration ◽

Superior Temporal Gyrus ◽

Music Reading ◽

Short Term ◽

Visual Elements ◽

Human Ability ◽

Cortical Responses ◽

Anterior Prefrontal Cortex

The human ability to integrate the input of several sensory systems is essential for building a meaningful interpretation out of the complexity of the environment. Training studies have shown that the involvement of multiple senses during training enhances neuroplasticity, but it is not clear to what extent integration of the senses during training is required for the observed effects. This study intended to elucidate the differential contributions of uni- and multisensory elements of music reading training in the resulting plasticity of abstract audiovisual incongruency identification. We used magnetoencephalography to measure the pre- and posttraining cortical responses of two randomly assigned groups of participants that followed either an audiovisual music reading training that required multisensory integration (AV-Int group) or a unisensory training that had separate auditory and visual elements (AV-Sep group). Results revealed a network of frontal generators for the abstract audiovisual incongruency response, confirming previous findings, and indicated the central role of anterior prefrontal cortex in this process. Differential neuroplastic effects of the two types of training in frontal and temporal regions point to the crucial role of multisensory integration occurring during training. Moreover, a comparison of the posttraining cortical responses of both groups to a group of musicians that were tested using the same paradigm revealed that long-term music training leads to significantly greater responses than the short-term training of the AV-Int group in anterior prefrontal regions as well as to significantly greater responses than both short-term training protocols in the left superior temporal gyrus (STG).

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The Role of Religion in European and North American Japanese Studies

Religion and Orientalism in Asian Studies ◽

10.5040/9781474289764.0012 ◽

2016 ◽

Keyword(s):

North American ◽

Japanese Studies ◽

Role Of Religion

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Is Artistic Composition in Abstract Art Detected Automatically?

10.1093/oso/9780197513620.003.0021 ◽

2021 ◽

pp. 102-106

Author(s):

Claudia Menzel ◽

Gyula Kovács ◽

Gregor U. Hayn-Leichsenring ◽

Christoph Redies

Keyword(s):

Human Brain ◽

Significant Role ◽

Mismatch Negativity ◽

Brain Activity ◽

Perceptual Processing ◽

Abstract Art ◽

Electrical Brain Activity ◽

Image Set ◽

The Brain

Most artists who create abstract paintings place the pictorial elements not at random, but arrange them intentionally in a specific artistic composition. This arrangement results in a pattern of image properties that differs from image versions in which the same pictorial elements are randomly shuffled. In the article under discussion, the original abstract paintings of the author’s image set were rated as more ordered and harmonious but less interesting than their shuffled counterparts. The authors tested whether the human brain distinguishes between these original and shuffled images by recording electrical brain activity in a particular paradigm that evokes a so-called visual mismatch negativity. The results revealed that the brain detects the differences between the two types of images fast and automatically. These findings are in line with models that postulate a significant role of early (low-level) perceptual processing of formal image properties in aesthetic evaluations.

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Animating the subjugated past: digital greeting cards as a form of counter-memory

Visual Communication ◽

10.1177/1470357219890636 ◽

2019 ◽

pp. 147035721989063

Author(s):

Mykola Makhortykh ◽

Maryna Sydorova

Keyword(s):

Potential Role ◽

Second World War ◽

Historical Narratives ◽

World War ◽

Cultural Products ◽

Visual Elements ◽

Greeting Cards ◽

Memory Practices ◽

Second World

This article discusses how popular culture products – digital greeting cards – interact with hegemonic historical narratives in the context of war remembrance. It employs the Foucauldian concept of counter-memory to analyse how user-generated mnemonic content interacts with historical power relations. Using content analysis to examine a sample of amateur greeting cards, the authors investigate how these cultural products engage with official and counter-official memory practices in Russia related to the Soviet victory in the Second World War. Specifically, the article explores how different visual elements are employed to (de)construct specific narratives about the Soviet victory and it discusses how the use of computer graphics, in particular animation, influences the potential role of greeting cards as a means of resurrecting the subjugated past.

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‘Study Effortless-Action’

Journal of Religion in Japan ◽

10.1163/22118349-00602003 ◽

2017 ◽

Vol 6 (2) ◽

pp. 75-106

Author(s):

George A. Keyworth

Keyword(s):

Song Dynasty ◽

Zen Buddhism ◽

Historical Context ◽

Edo Period ◽

Single Piece ◽

Rigorous Study ◽

Literary Arts ◽

The Rich ◽

The Temple

Today there is a distinction in Japanese Zen Buddhist monasticism between prayer temples and training centers. Zen training is typically thought to encompass either meditation training or public-case introspection, or both. Yet first-hand accounts exist from the Edo period (1603–1868) which suggest that the study of Buddhist (e.g., public case records, discourse records, sūtra literature, prayer manuals) and Chinese (poetry, philosophy, history) literature may have been equally if not more important topics for rigorous study. How much more so the case with the cultivation of the literary arts by Zen monastics? This paper first investigates the case of a network of eminent seventeenth- and eighteenth-century scholar-monks from all three modern traditions of Japanese Zen—Sōtō, Rinzai, and Ōbaku—who extolled the commentary Kakumon Kantetsu 廓門貫徹 (d. 1730) wrote to every single piece of poetry or prose in Juefan Huihong’s 覺範恵洪 (1071–1128) collected works, Chan of Words and Letters from Stone Gate Monastery (Ch. Shimen wenzichan; Jp. Sekimon mojizen). Next, it explores what the wooden engravings of Study Effortless-Action and Efficacious Vulture at Daiōji, the temple where Kantetsu was the thirteenth abbot and where he welcomed the Chinese émigré Buddhist monk Xinyue Xingchou (Shin’etsu Kōchū 心越興儔, alt. Donggao Xinyue, Tōkō Shin’etsu 東皐心越, 1639–1696), might disclose about how Zen was cultivated in practice? Finally, this paper asks how Kantetsu’s promotion of Huihong’s “scholastic” or “lettered” Chan or Zen might lead us rethink the role of Song dynasty (960–1279) literary arts within the rich historical context of Zen Buddhism in Edo Japan?

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