Atlantis, an Autoanthropology

Over the course of his long career, Nathaniel Tarn has been a poet, anthropologist, and book editor, while his travels have taken him into every continent. Born in France, raised in England, and earning a Ph.D. from the University of Chicago, he knew André Breton, Salvador Dalí, Marcel Duchamp, Margot Fonteyn, Charles Olson, Claude Lévi-Strauss, and many more of the twentieth century’s major artists and intellectuals. In Atlantis, an Autoanthropology he writes that he has "never (yet) been able to experience the sensation of being only one person.” Throughout this literary memoir and autoethnography, Tarn captures this multiplicity and reaches for the uncertainties of a life lived in a dizzying array of times, cultures, and environments. Drawing on his practice as an anthropologist, he takes himself as a subject of study, examining the shape of a life devoted to the study of the whole of human culture. Atlantis, an Autoanthropology prompts us to consider our own multiple selves and the mysteries contained within.

Atlantis, an Autoanthropology

Over the course of his long career, Nathaniel Tarn has been a poet, anthropologist, and book editor, while his travels have taken him into every continent. Born in France, raised in England, and earning a Ph.D. from the University of Chicago, he knew André Breton, Salvador Dalí, Marcel Duchamp, Margot Fonteyn, Charles Olson, Claude Lévi-Strauss, and many more of the twentieth century’s major artists and intellectuals. In Atlantis, an Autoanthropology he writes that he has "never (yet) been able to experience the sensation of being only one person.” Throughout this literary memoir and autoethnography, Tarn captures this multiplicity and reaches for the uncertainties of a life lived in a dizzying array of times, cultures, and environments. Drawing on his practice as an anthropologist, he takes himself as a subject of study, examining the shape of a life devoted to the study of the whole of human culture. Atlantis, an Autoanthropology prompts us to consider our own multiple selves and the mysteries contained within.

Pictorial size perception in schizophrenia

In this study, we compared visual pictorial size perception between healthy volunteers (CG) and an experimental group (EG) of people diagnosed with schizophrenia. We have been using paintings by Salvador Dalí and Rorschach plates to estimate visual pictorial size perception. In this transversal, ex post facto, and quasi-experimental study, we observed differences between EG and CG. Schizophrenic in-patients perceived sizes about 1.3-fold greater than healthy volunteers (p=0.006), implying that pictorial size perception is altered in some way in schizophrenia. Considering the present and previous results, this measurement of diameter size of first pictorial perception may be a useful estimate of some aspects of perceptual alterations that may be associated with psychotic symptoms in prodromal and acute schizophrenic episodes and other related mental states. Eventually, this may help in preventing people from evolving to acute episodes.

Consideraciones críticas del fenómeno delirante inicial en el Método Paranoico Crítico de Salvador Dalí y el edificio CCTV de Rem Koolhaas

El objetivo de este artículo es demostrar la vigencia del Método Paranoico crítico de Salvador Dalí en su aplicación a la interpretación y análisis del arte y la arquitectura, que el artista definió en su obra El mito trágico de «El ángelus» de Millet. Para ello se aplicará a la interpretación de la arquitectura de Rem Koolhaas, y en concreto a su edificio de la televisión China, el CCTV en Beijing. Se trabaja en convivencia con el plano imaginario y el plano más analítico siguiendo distintos caminos. El fenómeno delirante inicial es el instante en que aparece por primera vez, de forma violenta, la imagen obsesiva, sobre la que se aplica el método paranoico crítico. Aquí el fenómeno delirante inicial es el acontecimiento del incendio del TVCC en Beijing producido en 2009. Desde que se manifiesta el mismo, la imagen real queda anclada al fenómeno delirante de forma instantánea.

The use of animation to improve art education

In this major research project, I explore the ways in which animation can be developed to improve art education. I developed an animated short film titled The Art Collector as an educational tool that incorporates computer animation technology with art theory, to educate about art theory and art history in a unique way through paintings from three different surrealist artists: Salvador Dali, Rene Magritte and Max Ernst. I also provide some background information as to how this animation project came to be, including the development of the script, the main character, and the animation itself. I draw upon several studies that illustrate the ways in which animation can be used successfully as an education tool to motivate student learning.