scholarly journals The Landbound Chicken and the Deliberate Chameleon yet have their Uses: Yorùbá Art History, Language, and Interpretation.

2021 ◽  
Vol 2 (2) ◽  
pp. 1-16
Author(s):  
Kathy Curnow
Keyword(s):  
Art History ◽  
Native Speaker ◽  
Third Party ◽  
African Art ◽  
The Past ◽  
Art Historians ◽  
Art And Language ◽  
Yoruba Language ◽  
Language Mastery ◽  
The Way

Rowland Abiodun’s Yorùbá Art and Language contains many extremely valuable features, wrapped around a question he raises in its introduction: can foreign scholars ever truly understand a work the way its Yorùbá makers and users do? Language mastery certainly provides the native speaker with access to inestimable insights regarding not only general worldview, but specifics of philosophy, history keeping, and subtleties of knowledge transmission. However, in the attempt to read an artwork and unpack its meaning, cultural in[1]siders also face obstacles as well as advantages, particularly when pieces date from the more distant past. The import of Abiodun’s major contributions regarding Yorùbá art’s history and the validity of his contentions are considered here in light of the varied contributions both foreign and Yorùbá art historians bring to Yorùbá scholarship, in the recognition that working with art of bygone centuries makes all scholars outsiders to a degree.   A kì í gbójú-u fífò lé adìẹ àgàgà; à kì í gbójú-u yíyan lé alágẹmọ. One should not expect the flightless chicken to soar; one should not expect the chameleon to stride.   Can outsiders ever truly understand a work of art the way its makers and users do? In the introduction to his book Yorùbá Art and Language: Seeking the African in African Art, Rowland Abiodun concludes that only those with a mastery of the Yorùbá language and deep cultural familiarity can interpret Yorùbá artworks effectively. His argument produces numerous salie observations and the viewing framework he creates provides an exceedingly valuable set of lenses for interpreting Yorùbá sculpture. However, the question posed above remains intriguing, and is more complex than it appears. Even when an artist and his patron live in the same community at the same time, their interpretations of a commissioned work may not be identical, so when one moves out to the analyses of art historians, Yorùbá or not, one cannot necessarily assume a third party will understand the work just as its maker and user did. Additional corollaries to the question exist as well. What are the parameters of outsider status? Do they constitute a spectrum? Do insider advantages always trump outsiders’ perceptions? These issues become even more pertinent as distance from our own era increases. While the question of outsider/insider status does not constitute the thrust of Abiodun’s book, it is a major aspect of his introduction, and thus worth considering.1 While this paper considers the unique multiple contributions of Abiodun’s book, it also argues that careful considerations of objects and context can be made by outsiders, while insiders, like all researchers, can choose to ignore elements that conflict with their own preconceptions, develop greater interest in one topic than another, generalize their known experience to the whole of Yorubaland or apply it half a millennium into the past. While these perspectives differ, one does not automatically eclipse the other.

Kuntanshi yamikalile (The Future): speculative nonconformity in the works of Zambian visual artists

2021 ◽  
Author(s):  
◽  
Andrew Mukuka Mulenga
Keyword(s):  
Art History ◽  
Visual Artists ◽  
African Art ◽  
The Past ◽  
The Us ◽  
The Future ◽  
The 1960S ◽  
Scholarly Discourse ◽  
Contemporary African Art ◽  
Freeze Time

In recent years, select African visual artists practising on the continent as well as in its diaspora have increasingly been attracted to themes that explore, portray or grapple with Africa’s future. Along with this increasing popularity of the ‘future’ or indeed ‘African futuristic’ themes by visual artists, such themes have also attracted academic consideration among various scholars, resulting primarily in topics described as ‘African Futurism’ or Afrofuturism. These are topics that may be used to disrupt what some scholars – across disciplines and in various contexts – have highlighted as the persistent presumptive notions that portray Africa as a hinterland (Hassan 1999; Sefa Dei, Hall and Goldin Rosenberg 2000; Simbao 2007; Soyinka-Airewele and Edozie 2010; Moyo 2013; Keita, L. 2014; Green 2014; Serpell 2016). This study makes an effort to critique certain aspects of ‘African Art History’ with regard to the representation of Africa, and raises the following question: How can an analysis of artistic portrayals of ‘the future’ portrayed in the works of select contemporary Zambian artists be used to critique the positioning of Africa as ‘backward’, an occurrence at the intersection of a dualistic framing of tradition versus modern. Furthermore, how can this be used to break down this dichotomy in order to challenge lingering perceptions of African belatedness? The study analyses ways in which this belatedness is challenged by the juxtaposition of traditional, contemporary and futuristic elements by discussing a series of topics and debates associated to African cultures and technology that may be deemed disconnected from the contemporary lived experiences of Africans based on the continent. The study acknowledges that there is no singular ‘African Art History’ that one can talk of and there have been various shifts in how it has been perceived. I argue that while currently the African art history that is written in the West does not simplistically position Africa as backward as it may have done in the past, there appear to be moments of a hangover of this perception (Lamp 1999:4). What started out as a largely Western scholarly discourse of African art history occurred in about the 1950s and the journal African Arts started in the 1960s. Even before contemporary African art became a big thing in the 1990s for the largely US- and Europe-based discourses there were many discussions in the US about how the ‘old’ art history tended to freeze time and that this was not appropriate (Drewal 1991 et al). In order to advance the discourse on contemporary African visual arts I present critical analyses of the select works of Zambian artists to develop interpretations of the broader uses of the aforementioned themes. The evidence that supports the core argument of this research is embedded in the images discussed throughout this dissertation. The artists featured in the study span several decades including artists who were active from the 1960s to the 1980s, such as Henry Tayali and Akwila Simpasa, as well as artists who have been practising since the 1980s, such as Chishimba Chansa and William Miko and those that are more current and have been producing work from the early 1990s and 2000s, such as Zenzele Chulu, Milumbe Haimbe, Stary Mwaba, Isaac Kalambata and Roy Jethro Phiri.

One Tribe, One Style? Paradigms in the Historiography of African Art

1984 ◽  
Vol 11 ◽  
pp. 163-193 ◽  
Author(s):  
Sidney Littlefield Kasfir
Keyword(s):  
Art History ◽  
Political History ◽  
Academic Discipline ◽  
National Character ◽  
Thomas Kuhn ◽  
African Art ◽  
German Expressionism ◽  
Change Over Time ◽  
Over Time ◽  
The Way

While the historiography of art as an academic discipline can hardly be construed as a science, it is nevertheless governed by certain dominant paradigms in both of the senses that Thomas Kuhn intended. First, at any point in time there is a constellation of beliefs, values, and techniques shared by the community of scholars who comprise the discipline known as art history. This can be further broken down, altered, and refined for the various sub-fields, but taken together, the separate facets constitute a “way of seeing” art history which differs substantially from the “way of seeing,” say, political history.Applying Kuhn's second and more rigorous sense, the historiography of art is dominated by certain paradigms which serve as exemplars or models of puzzle-solutions. While these change over time (it is no longer permissible to ascribe German expressionism to “national character,” for example), they are so powerful that they function as unquestioned assumptions when in force. Even more importantly, they are frequently invisible because they are rarely made explicit. In European art history, the dominant paradigms have coalesced into entities such as “The Baroque” or “Mannerism” which are largely ontological models used to simplify the otherwise intractable complexity of European art styles and movements.

Part V Pass-On, 21 Proving Pass-on

2020 ◽  
Author(s):  
Veljanovski Cento
Keyword(s):  
Regression Analysis ◽  
Multiple Regression Analysis ◽  
Multiple Regression ◽  
Volume Effect ◽  
Event Studies ◽  
Third Party ◽  
Standard Of Proof ◽  
The Past ◽  
Statistical Approaches ◽  
The Way

This chapter addresses the difficulty of establishing pass-on. Indeed, estimating pass-on is difficult and often impossible. Even where estimates of the pass-on rate can be generated, estimates of the overcharge are still required to quantify the amount of pass-on. For indirect purchasers, this will add to the difficulty because they may not have the necessary data and knowledge of successive upstream markets. There is also uncertainty to the standard of proof and evidential burden required to establish credible pass-on rates. However, there are a range of approaches that can be used to estimate or quantify the pass-on rate, which are set out in the European Commission’s Pass-on Guidelines. These include documentary evidence on firms’ pricing policies; economic theory/simulations; evidence on the way the direct and indirect purchasers have passed on cost increases in the past, arguing that they would react similarly to an overcharge; third party research on the way the industry has been passed on in the past; and statistical approaches either using multiple regression analysis, time series analysis, or event studies. The volume effect can be estimated using similar approaches although the Pass-on Guidelines suggest multiple regression analysis and the ‘elasticity approach’.

scholarly journals The Artist Libraries Project in the Labex Les passés dans le présent

2019 ◽  
Vol Atelier Digit_Hum (Digital libraries and virtual...) ◽  
Author(s):  
Félicie Faizand de Maupeou ◽  
Ségolène Le Men
Keyword(s):  
Creative Process ◽  
Art History ◽  
The Other ◽  
Online Database ◽  
Valuable Source ◽  
Art Historians ◽  
Central Database ◽  
The Creation ◽  
The One ◽  
The Way

The creation of the Artist Libraries Project was sparked by the observation that artist libraries are still not well known, yet many art historians are interested in this archive for the value it adds to understanding the person behind the artist and his or her creative process. The problem is that these libraries are rarely physically preserved. To remedy this dispersion, we built an online database and a website www.lesbibliothequesdartistes.org that house this valuable source in the form of lists of books and their electronic versions. First data on Monet's library have been made available, and several additional artist libraries from the 19 th and 20 th centuries are on the way for 2019. By gathering all these bibliographical data in a central database, it's possible to explore one library and to compare several. This article explains how we built the database and the website and how the implementation of those IT tools has raised questions about the use of this resource as an archive on the one hand, as well as its value for art history on the other.

Pausanias and the historiography of Classical Sparta

1995 ◽  
Vol 45 (1) ◽  
pp. 92-113 ◽  
Author(s):  
A. R. Meadows
Keyword(s):  
Deep Learning ◽  
Second Century ◽  
Important Influence ◽  
Keen Interest ◽  
The Past ◽  
The World ◽  
Art Historians ◽  
Of Greece ◽  
The Way

The Periegesis of Pausanias has finally entered the world of serious literature. Long after the way was first shown, the Magnesian has arrived and duly taken his place in the intellectual world of the second century: a pilgrim to the past. Yet he was no bookish, library-bound bore. Recent studies have transformed our opinion of him as a recorder of the sites and treasures of what was, even to him, antiquity, ‘His faithfulness in reporting what he saw has, time and time again, been proven at a large number of sites and could easily be demonstrated at a good many others.’ ‘The very fact that the second-century A.D. traveller Pausanias wrote at such length about the sites and monuments of Greece is itself indicative of his most important attitude towards antiquities. That is, he thought them of sufficient value to be worth recording and thought it worth travelling extensively in mainland Greece over a period of many years to see them for himself.’ And so inevitably, as respect for the author has grown, the desire to lay bare his soul has followed. Critics are unanimous in their view of a man sensitive to the resonance of the ancient and power of the past. On occasion a Herodotean fascination with the mutability of man's lot bubbles to the surface, indeed we may surmise Herodotus to have been an important influence on the Periegesis in several fundamental respects. Above all he was a man of deep learning and keen interest in the past and a faithful recorder of its remains. Archaeologists and art-historians concur.

scholarly journals Evolving American Investing Attitudes: The Hybrid Shift In Mutual Fund Distribution

2012 ◽  
Vol 10 (11) ◽  
pp. 613 ◽  
Author(s):  
Brian D. Fitzpatrick ◽  
Ethan McWilliams ◽  
David B. Vicknair
Keyword(s):  
Mutual Funds ◽  
Mutual Fund ◽  
Financial Planning ◽  
Human Mind ◽  
Third Party ◽  
Distribution Model ◽  
The Past ◽  
New Methods ◽  
The U.S ◽  
The Way

This paper studies the dramatic evolution in the way American investors choose to invest in the mutual fund industry. The industrys change from direct-to-shareholder model to a third-party distribution model is discussed, as well as the implications for future mutual fund investors. Ever since the first recorded asset and debt managers arose in the 14th and 15th centuries in Europe, investing has grown into a tug-and-pull type of system that the human mind seems drawn to. The way that Americans choose to invest their money is changing as we enter the 21st century and the new methods and procedures are having a greater impact than many of us realize. In the U.S., trillions of dollars each year are invested in mutual funds, but more and more investors are taking a less-involved route by allowing financial analysts to choose where their money is invested. In the following pages, we will take a closer look at the mutual fund market and its basic components, the ways that mutual funds have been viewed and traded in the past, and the revolutionary changes that are happening right under our noses that the average American may not even be aware of. With the help of many credible sources, such as the Investment Company Institute, Reflow Investments LLC, and the Financial Planning Journal, the change from direct-to-shareholder mutual fund distribution to third-party intermediary distribution will be explained and the effects these changes has on the average investor will be explored.

scholarly journals ‘We Are Gathering Experience’

2022 ◽  
pp. 255-260
Author(s):  
Alethea Rockwell
Keyword(s):  
Performance Art ◽  
Art History ◽  
Modern Art ◽  
The Past ◽  
Art Historians ◽  
Art Pedagogy

In recent years, critics and art historians have pointed to an ‘educational turn’, a rise in participatory pedagogical art projects and artist-led experimental schools. This essay considers artist-led projects and museum programmes that restage or reenact educational experiments from the past, analysing their limits and possibilities in the study and presentation of modern art history. Much like performance art, pedagogy is ephemeral and contingent, and yet it differs in that it does not establish a fixed spectatorial role. To be understood it must be participated in, for, as Josef Albers described his teaching, ‘we are gathering experience’.

A Macintosh Interface for the Cameca Camebax-Micro Electron Microprobe

1990 ◽  
Vol 48 (1) ◽  
pp. 438-439
Author(s):  
Carl E. Henderson
Keyword(s):  
Electron Microprobe ◽  
Processing Speed ◽  
Word Processing ◽  
State Of The Art ◽  
Computer Control ◽  
Third Party ◽  
Disk Storage ◽  
The Past ◽  
User Facility ◽  
Instrument Control

Over the past few years it has become apparent in our multi-user facility that the computer system and software supplied in 1985 with our CAMECA CAMEBAX-MICRO electron microprobe analyzer has the greatest potential for improvement and updating of any component of the instrument. While the standard CAMECA software running on a DEC PDP-11/23+ computer under the RSX-11M operating system can perform almost any task required of the instrument, the commands are not always intuitive and can be difficult to remember for the casual user (of which our laboratory has many). Given the widespread and growing use of other microcomputers (such as PC’s and Macintoshes) by users of the microprobe, the PDP has become the “oddball” and has also fallen behind the state-of-the-art in terms of processing speed and disk storage capabilities. Upgrade paths within products available from DEC are considered to be too expensive for the benefits received. After using a Macintosh for other tasks in the laboratory, such as instrument use and billing records, word processing, and graphics display, its unique and “friendly” user interface suggested an easier-to-use system for computer control of the electron microprobe automation. Specifically a Macintosh IIx was chosen for its capacity for third-party add-on cards used in instrument control.

Remembering the Past in Nineteenth-Century Scotland

2014 ◽  
Author(s):  
James J. Coleman
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
19Th Century ◽  
21St Century ◽  
Collective Memories ◽  
The Past ◽  
Prevailing View ◽  
The Way

At a time when the Union between Scotland and England is once again under the spotlight, Remembering the Past in Nineteenth-Century Scotland examines the way in which Scotland’s national heroes were once remembered as champions of both Scottish and British patriotism. Whereas 19th-century Scotland is popularly depicted as a mire of sentimental Jacobitism and kow-towing unionism, this book shows how Scotland’s national heroes were once the embodiment of a consistent, expressive and robust view of Scottish nationality. Whether celebrating the legacy of William Wallace and Robert Bruce, the reformer John Knox, the Covenanters, 19th-century Scots rooted their national heroes in a Presbyterian and unionist view of Scotland’s past. Examined through the prism of commemoration, this book uncovers collective memories of Scotland’s past entirely opposed to 21st-century assumptions of medieval proto-nationalism and Calvinist misery. Detailed studies of 19th-century commemoration of Scotland’s national heroes Uncovers an all but forgotten interpretation of these ‘great Scots’ Shines a new light on the mindset of nineteenth-century Scottish national identity as being comfortably Scottish and British Overturns the prevailing view of Victorian Scottishness as parochial, sentimental tartanry

Profilometry. Using Corneo-scleral topography for scleral lens fitting

The Eye ◽  
2019 ◽  
Vol 21 (128) ◽  
pp. 19-22
Author(s):  
Gregory DeNaeyer
Keyword(s):  
Ocular Surface ◽  
World Wide ◽  
Contact Lenses ◽  
The Past ◽  
The World ◽  
The Future ◽  
The Way

The world-wide use of scleral contact lenses has dramatically increased over the past 10 year and has changed the way that we manage patients with corneal irregularity. Successfully fitting them can be challenging especially for eyes that have significant asymmetries of the cornea or sclera. The future of scleral lens fitting is utilizing corneo-scleral topography to accurately measure the anterior ocular surface and then using software to design lenses that identically match the scleral surface and evenly vault the cornea. This process allows the practitioner to efficiently fit a customized scleral lens that successfully provides the patient with comfortable wear and improved vision.

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