Tonalism

2018 ◽  
Author(s):  
Angela Philp
Keyword(s):  
Da Vinci ◽  
Two Dimensional ◽  
Painted Surface ◽  
Johannes Vermeer ◽  
Model Form ◽  
The Will ◽  
The 1950S

Tonalism is an often under-appreciated aspect of Australian painting, which developed from the mid-1910s to the 1950s. A technique pioneered by Max Meldrum (1875–1955) it is different to the use of tone developed by artists such as Leonard da Vinci (1452–1519) and Johannes Vermeer (1632–75). Traditionally, European artists worked from dark to light, building up the painted surface to model form and create realistic effects as part of the will to produce illusionistic forms and space on a two-dimensional painted surface. This process is based on closely observed preliminary sketches. In Australia, the technique developed by Meldrum involved the blocking in of tonal impressions with no under-drawing or outlines.

Reconsidering Leonardo Da Vinci and a Memory of His Childhood

2020 ◽  
Vol 68 (3) ◽  
pp. 359-406
Author(s):  
Rajiv Gulati ◽  
David Pauley
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Close Reading ◽  
The 1950S ◽  
Childhood Memory

Previous considerations of Freud’s 1910 pathography of Leonardo da Vinci have grappled mainly with errors of fact (among them a mistranslation in the study’s signature childhood memory, widely known since the 1950s). Here a more consequential flaw is examined: Freud’s fatefully pathogenic framing of Leonardo’s homosexuality. While few present-day analysts share that perspective in its entirety, Freud’s complex and plausible reconstruction drew wide support in the literature for more than a century and has to date never been subjected to rigorous critique. A close reading of the study, exploring Freud’s perspective and that of later psychoanalysts and historians, seeks to account for the biography’s tenacious grip on the psychoanalytic imagination. In the end, it is argued, the pathography is a failed effort to grapple with an unsettling transformation unfolding around and within Freud: the emergence of the category that eventually would be called the “healthy homosexual.”

ORNAMENT AND DISTRACTION: PERIPHERAL AESTHETICS IN THE NINETEENTH CENTURY

2017 ◽  
Vol 45 (2) ◽  
pp. 233-255
Author(s):  
Alison Georgina Chapman
Keyword(s):  
Nineteenth Century ◽  
William James ◽  
Three Dimensional ◽  
Related Phenomenon ◽  
Two Dimensional ◽  
Optical Character ◽  
Cognitive Faculties ◽  
The Will ◽  
The Mind

In the section devoted to “Attention”inThe Principles of Psychology(1890), William James describes how the “‘adaptation of the attention’” can alter our perception of an image so as to permit multiple visual formulations (417). In his example of a two-dimensional drawing of a cube, we can see the three-dimensional body only once our attention has been primed by “preperception”: the image formed by the combination of lines has “no connection with what the picture ostensibly represents” (419, 418). In a footnote to this passage, however, James uses an example from Hermann Lotze'sMedicinische Psychologie(1852), to show how a related phenomenon can occur involuntarily, and in states of distraction rather than attention:In quietly lying and contemplating a wall-paper pattern, sometimes it is the ground, sometimes the design, which is clearer and consequently comes nearer. . .all without any intention on our part. . . .Often it happens in reverie that when we stare at a picture, suddenly some of its features will be lit up with especial clearness, although neither its optical character nor its meaning discloses any motive for such an arousal of the attention. (419)James uses the formal illogicality of the wallpaper (its lack of compositional center prevents it from dictating the trajectory for our attention according to intrinsic aesthetic laws) to demonstrate the volatility of our ideational centers, particularly in moments of reverie or inattention. Without the intervention of the will, James says, our cognitive faculties are always in undirected motion, which occurs below the strata of our mental apprehension. Momentary instances of focus or attunement are generated only by the imperceptible and purely random “irradiations of brain-tracts” (420). Attention, for James, is the artistic power of the mind; it applies “emphasis,” “intelligible perspective,” and “clear and vivid form” to the objects apprehended by the faculties of perception, it “makesexperience more than it is made by it” (381). Reverie, a moment when attention has been reduced to a minimum, thus demands an alternative aesthetic analog, where composition is reduced to a minimum too.

Update of the Hevner Adjective Checklist

2003 ◽  
Vol 96 (3_suppl) ◽  
pp. 1117-1122 ◽  
Author(s):  
Emery Schubert
Keyword(s):  
Emotional Responses ◽  
Two Dimensional ◽  
Circumplex Model ◽  
Adjective Checklist ◽  
The 1950S ◽  
Emotion Space

Hevner's checklist has been widely used to measure emotional responses to music. Since the revision of the checklist by Farnsworth in the 1950s and 1960s, the list has not been updated. 133 musically experienced people were surveyed regarding the suitability of a list of 91 adjectives in describing music. The words consisted of the original 67 from Hevner's adjective circle, and additional words were taken from Russell's circumplex model of emotion (1980) and Whissell's dictionary of affect (1989). The words and clusters were then grouped according to their position on a two-dimensional emotion space. Some of the words used by Hevner but dropped by Farnsworth were reinstated, and 15 other words were dropped. The final list consisted of 46 words grouped into nine clusters in emotion space.

Truitt, Anne (1921–2004)

2018 ◽  
Author(s):  
Miguel de Baca
Keyword(s):  
Three Dimensional ◽  
Two Dimensional ◽  
Painted Surface ◽  
American Artist ◽  
Minimal Art ◽  
Clement Greenberg ◽  
Studio Practice

Anne Truitt is an American artist most closely identified with Minimalism. Truitt’s art consists of wooden boxes, planks, and columnar works industrially fabricated and painted by hand, which were among the first examples of Minimal art. Because of the evocative colors and literary titles of her works, she is often distinguished from her contemporaries, who argued against expressivity in art. Truitt’s principal critical ally was Clement Greenberg. Despite viewing other minimalists’ works with contempt, Greenberg admired Truitt’s formal references to painters Ad Reinhardt and Barnett Newman, and understood her sculptures as three-dimensional articulations of a two-dimensional painted surface. Elsewhere, the language Greenberg used in defence of Truitt made her gender a conspicuous issue, contributing to the feminizing of her practice in ensuing discourse. Truitt had a remarkably long, productive, and diverse studio practice, producing sculpture, drawings, and paintings until her death in 2004.

‘By the Will and Order of Providence’: The Wesley Family Concerts, 1779–1787

2004 ◽  
Vol 37 ◽  
pp. 71-114
Author(s):  
Alyson McLamore
Keyword(s):  
Eighteenth Century ◽  
Performance Standards ◽  
Classical Period ◽  
John Wesley ◽  
Musical Life ◽  
The Will ◽  
The 1950S ◽  
Scholarly Attention ◽  
Concert Life

Musically, London has often stood in the shadow of its European cousins. In early studies of the Classical period, musicological attention was usually concentrated on the leading Viennese composers, with only passing reference to England in so far as it related to the careers of these masters. The situation began to change in the 1950s with Charles Cudworth's and Stanley Sadie's pioneering studies of eighteenth-century England, and in recent years several English towns and cities have been the focus of further research. Investigations into London's burgeoning eighteenth-century musical life have revealed the capital's important role in developing modern performance standards and the evolution of a ‘canonic’ repertory, but most research has been centred around public concerts. Despite this increased scholarly attention, there are many frustrating gaps in our knowledge about these activities, and the dearth of information is even greater for most private concerts. There is, however, rich surviving documentation pertaining to the series conducted for nine successive years by the sons of the Revd Charles Wesley (1707–88), co-founder with his brother John Wesley (1703–91) of Methodism. Until now, scholars have failed to make full use of the Wesley materials, partly because of their scattered locations, but also perhaps from a sense that the concerts stood only on the periphery of London concert life. Nevertheless, a closer examination of the Wesley records—and a comparison between them and what is known about more public concerts—shows that these concerts were not as marginal an enterprise as is sometimes assumed.

scholarly journals ‘little gothics’: Misty and the ‘Strange Stories’ of British Girls’ Comics

2021 ◽  
Vol 23 (2) ◽  
pp. 163-180
Author(s):  
Julia Round
Keyword(s):  
Short Form ◽  
Narrative Structure ◽  
Two Dimensional ◽  
Final Point ◽  
Strange Story ◽  
Female Gothic ◽  
The 1950S ◽  
The Way

This article uses a critical framework that draws on the Gothic carnival, children’s Gothic, and Female Gothic to analyse the understudied spooky stories of British comics. It begins by surveying the emergence of short-form horror in American and British comics from the 1950s onwards, which evolved into a particular type of girls’ weekly tale: the ‘Strange Story.’ It then examines the way that the British mystery title Misty (IPC, 1978–80) developed this template in its single stories. This focuses on four key attributes: the directive role of a host character, an oral tone, content that includes two-dimensional characters and an ironic or unexpected plot reversal, and a narrative structure that drives exclusively towards this final point. The article argues that the repetition of this formula and the tales’ short format draw attention to their combination of subversion/conservatism and horror/humour: foregrounding a central paradox of Gothic.

Spectrophotometric measurements of objective-prism spectra

1966 ◽  
Vol 24 ◽  
pp. 118-119
Author(s):  
Th. Schmidt-Kaler
Keyword(s):  
Progress Report ◽  
Two Dimensional ◽  
Objective Prism ◽  
Made In

I should like to give you a very condensed progress report on some spectrophotometric measurements of objective-prism spectra made in collaboration with H. Leicher at Bonn. The procedure used is almost completely automatic. The measurements are made with the help of a semi-automatic fully digitized registering microphotometer constructed by Hög-Hamburg. The reductions are carried out with the aid of a number of interconnected programmes written for the computer IBM 7090, beginning with the output of the photometer in the form of punched cards and ending with the printing-out of the final two-dimensional classifications.

Introductory paper

1966 ◽  
Vol 24 ◽  
pp. 3-5
Author(s):  
W. W. Morgan
Keyword(s):  
Line Intensity ◽  
Classification Scheme ◽  
Two Dimensional ◽  
Spectral Classification ◽  
Dimensional Array ◽  
Rr Lyrae ◽  
Metallic Line ◽  
Introductory Paper ◽  
Parameter Varying ◽  
Definition Of

1. The definition of “normal” stars in spectral classification changes with time; at the time of the publication of theYerkes Spectral Atlasthe term “normal” was applied to stars whose spectra could be fitted smoothly into a two-dimensional array. Thus, at that time, weak-lined spectra (RR Lyrae and HD 140283) would have been considered peculiar. At the present time we would tend to classify such spectra as “normal”—in a more complicated classification scheme which would have a parameter varying with metallic-line intensity within a specific spectral subdivision.

A one-dimensional self-gravitating stellar gas

1966 ◽  
Vol 25 ◽  
pp. 46-48 ◽  
Author(s):  
M. Lecar
Keyword(s):  
Gravitational Field ◽  
Phase Space ◽  
Motion Picture ◽  
Space Distribution ◽  
Two Dimensional ◽  
One Dimensional ◽  
Phase Space Distribution ◽  
Dimensional Phase Space ◽  
The Mean

“Dynamical mixing”, i.e. relaxation of a stellar phase space distribution through interaction with the mean gravitational field, is numerically investigated for a one-dimensional self-gravitating stellar gas. Qualitative results are presented in the form of a motion picture of the flow of phase points (representing homogeneous slabs of stars) in two-dimensional phase space.

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