Jussi A. Saarinen
Jussi A. Saarinen
Institution: unstated
Email: info@res00.com
Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including
architectural solutions, audio guides...
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Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including
architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic
affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3,
I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics.
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Posted 1 year ago
Zhifeng Jiang
Zhifeng Jiang
Institution: University of Science and Technology; No.6, Square street, Xiaonan District, Xiaogan 5 City,
Email: xjiang292@sina.com
Abstract
Background
As a new infectious disease affecting the world, COVID-19 has caused a huge impact on countries around the world. At present, its specific pathophysiological mechanism has not been fully clarified. We found in the analysis of the arterial blood gas data of critically ill patien...
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Abstract
Background
As a new infectious disease affecting the world, COVID-19 has caused a huge impact on countries around the world. At present, its specific pathophysiological mechanism has not been fully clarified. We found in the analysis of the arterial blood gas data of critically ill patients that the incidence of metabolic alkalosis in such patients is high.
Method
We retrospectively analyzed the arterial blood gas analysis results of a total of 16 critically ill patients in the intensive ICU area of Xiaogan Central Hospital and 42 severe patients in the intensive isolation ward, and analyzed metabolic acidosis and
respiratory acidosis. Metabolic alkalosis and respiratory alkalosis, and the relationship between metabolic alkalosis and death.
Result
Among the 16 critically ill patients, the incidence of metabolic alkalosis was 100%, while the incidence of metabolic alkalosis in severe patients was 50%; the mortality rate in critically ill patients was 81.3%, and 21.4% in severe patients ; The mortality of all patients with metabolic alkalosis is 95.5%,and 4.5% in without metabolic alkalosis.
Conclusion
The incidence of metabolic alkalosis in critically ill COVID-19 patients is high, and it is associated with high mortality.
Key words :COVID-19, Metabolic alkalosis, mortality
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Posted 1 year ago
Meir Shimon
Meir Shimon
Institution: School of Physics and Astronomy, Tel Aviv University,
Email: meirs@tauex.tau.ac.il
In the standard cosmological model the dark energy (DE) and nonrelativistic (NR) matter densities are determined to be comparable at the present time, in spite of their greatly different evolution histories. This ‘cosmic coincidence’ enigma could be explained as a non-anthropic observational se...
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In the standard cosmological model the dark energy (DE) and nonrelativistic (NR) matter densities are determined to be comparable at the present time, in spite of their greatly different evolution histories. This ‘cosmic coincidence’ enigma could be explained as a non-anthropic observational selection effect: We show that in a suitably chosen frame the Universe is at its most probable epoch when the Hubble radius attains a maximum, at the epoch when the energy densities of DE and NR
matter are comparable.
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Posted 1 year ago
Oleg Lebedev,
Oleg Lebedev
Institution: Department of Physics and Helsinki Institute of Physics, Gustaf Hallstromin katu 2a, FI-00014
Email: info@res00.com
Jong-Hyun Yoon
Jong-Hyun Yoon
Institution: Department of Physics and Helsinki Institute of Physics, Gustaf Hallstromin katu 2a, FI-00014
Email: info@res00.com
We consider dark matter production during the inflation oscillation epoch. It is conceivable that renormalizable interactions between dark matter and inflation may be negligible. In this case, the leading role is played by higher dimensional operators generated by gravity and thus suppressed by the ...
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We consider dark matter production during the inflation oscillation epoch. It is conceivable that renormalizable interactions between dark matter and inflation may be negligible. In this case, the leading role is played by higher dimensional operators generated by gravity and thus suppressed by the Planck scale. We focus on dim-6 operators and study the corresponding particle production in perturbative and non–perturbative regimes. We find that the dark matter production rate is dominated by non–derivative operators involving higher powers of the inflation field. Even if they appear with small Wilson coefficients, such operators can readily account for the correct dark matter abundance.
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Posted 1 year ago
Maarten Steenhagen Shibukawa
Maarten Steenhagen Shibukawa
Institution: Uppsala Universitet:
Email: info@res00.com
Many people assume that fictional entities are encapsulated in the world of fiction. I show that this cannot be right. Some works of fiction tell us about pieces of poetry, music, or theatre written by fictional characters. Such creations are fictional creations, as I call them. Their authors do not...
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Many people assume that fictional entities are encapsulated in the world of fiction. I show that this cannot be right. Some works of fiction tell us about pieces of poetry, music, or theatre written by fictional characters. Such creations are fictional creations, as I call them. Their authors do not exist. But that does not take away that we can perform, recite, or otherwise generate actual instances of such works. This means we can bring such individuals actually into existence, as the works they are. I conclude that the assumption about encapsulation is untenable, unless an exception is made for types.
It is commonly assumed that fictional entities do not exist, at least not actually. “There is no Dracula!” we tell the children before bedtime, “It’s only a story.” That no fictional entity exists is however a substantive philosophical claim, and some philosophers have even gone so far to claim that no fictional entity can exist in the actual world. I will show that both claims are false. To say that fictional entities do not exist, or to claim that they could not exist, is mistaken, I argue, for reasons that have little to do
with the distinction between fiction and reality.
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Posted 1 year ago
Richard Maxwell
Richard Maxwell
Institution: unstated
Email: info@res00.com
I take photos on my phone. I use the photos as an atmospheric reference to go back to. Impressed with the empty streets of Hell’s Kitchen, my home for the last twenty years, I started taking photos as I walked my dog. Hell’s Kitchen had recently been overrun by Times Square and luxury apartments...
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I take photos on my phone. I use the photos as an atmospheric reference to go back to. Impressed with the empty streets of Hell’s Kitchen, my home for the last twenty years, I started taking photos as I walked my dog. Hell’s Kitchen had recently been overrun by Times Square and luxury apartments. Here was a chance for me to come to terms with the place through an emptied-out landscape. Despite the upheaval of the last year, somehow these buildings seemed calm and stoic. Do they perceive what’s happening around them? Are they impugned by world events around them.
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Posted 1 year ago
Peter Buse
Peter Buse
Institution: University of Liverpool
Email: info@res00.com
This article explores “the play element in photography”, to adapt a key phrase from Johan Huizinga’s Homo Ludens (1938). The context for this exploration is the melancholic paradigm that dominates much of contemporary writing and thinking about vernacular or popular photography, a paradigm tha...
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This article explores “the play element in photography”, to adapt a key phrase from Johan Huizinga’s Homo Ludens (1938). The context for this exploration is the melancholic paradigm that dominates much of contemporary writing and thinking about vernacular or popular photography, a paradigm that emphasises memory, death and mourning, at the expense of other practices and dispositions, not least the ludic. It notes that the existing literature on photography and play concentrates almost entirely on humorous images: optical jokes, trick photography, and a wide variety of distorted pictures. But play is an activity, a practice, as much as it is a product or an outcome. In other words, the ludic in photography is not just a quality of the object photographed, but of a photographic doing. Following this principle, the article shows the ways in which key modes of play such as competition, chance, make-believe and vertigo, are at work in photographic practices old and new, including in the aerostatic photography of Félix Nadar, with which it begins and ends.
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Posted 1 year ago
GEORGE WILLIAM CULLEN GROSS
GEORGE WILLIAM CULLEN GROSS
Institution: King’s College London
Email: info@res00.com
The last Scottish coronation occurred at Scone in 1651. Charles II’s Scottish coronation has either been completely forgotten or become the subject of distorted interpretations. It has long been suggested that this coronation was a hastily arranged affair, lacking sacredness without an anointing a...
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The last Scottish coronation occurred at Scone in 1651. Charles II’s Scottish coronation has either been completely forgotten or become the subject of distorted interpretations. It has long been suggested that this coronation was a hastily arranged affair, lacking sacredness without an anointing and involving little pomp, and thus minimal cost — almost humiliating, according
to one modern view. Furthermore, historians have argued that Charles both resented this ceremony and could barely have found anything joyful in it. Yet Clarendon commented that it ‘passed with great solemnity and magnificence, all men making show of joy, and being united to serve his majesty’. How can one reconcile these positions? Why has this coronation been so neglected? In many respects, it was superseded by immediate events (Charles II’s disastrous military campaign and exile) and then overshadowed at the Restoration (and by the 1661 Westminster Abbey coronation). Nevertheless, 1651 remains of tremendous significance
because it was paradoxically both usual and unusual and carried implications for the other kingdoms of the British Isles and their religious systems, not just for Scotland. With the addition of financial archival material unused by previous scholars, this article adopts a fresh approach that challenges the received historiography: by seriously addressing the question of disparity, it identifies what really was anomalous and what, in fact, was far from untypical or surprising.
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Posted 1 year ago
Leif Runefelt
Leif Runefelt
Institution: Södertörn University 141 89 Huddinge Sweden
Email: leif.runefelt@sh.se
In the 1840s, Sweden and Finland were hit by a minor craze for living pictures or tableaux vivants as commercial entertainment. For the price of a ticket, the public could experience the staging, by live actors, of work of arts from antiquity and contemporary sculptors such as Canova and Thorvaldsen...
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In the 1840s, Sweden and Finland were hit by a minor craze for living pictures or tableaux vivants as commercial entertainment. For the price of a ticket, the public could experience the staging, by live actors, of work of arts from antiquity and contemporary sculptors such as Canova and Thorvaldsen. Making strong claims of artistic value, based on the aesthetic theory of Winckelmann and the artistic practice of artists such as Canova, the performances raise interesting questions of how aesthetics worked when set in a commercial framework. The article discusses the problem of beauty faced by entertainers and spectators when art was reenacted for money. The experience of beauty was central to aesthetic theory and to living pictures. However, it remains unclear whether commercial living pictures was about beauty in art or about good-looking women. A possible conclusion is that it was about both, and that the aesthetic theory behind the tableaux was a theory created for a male visual culture, in which the male gaze’s consumption of female bodies was self-evident while dressed in arguments of truth and beauty, confirming a social order in which a certain right look was ascribed to men.
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Posted 1 year ago
Paul Joseph Lennon
Paul Joseph Lennon
Institution: Department of Spanish, University of St Andrews,
Email: pjl7@st-andrews.ac.uk
The sonnet ‘Pues cabe tanto en vos del bien del cielo’ by SpanishNeapolitan poet Francisco de Aldana (1537-78) challenges interpretation through its genre-defying mix of consolatory, philosophic, and amatory elements; in particular, its inclusion of an enigmatic statement by a ventriloquized f...
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The sonnet ‘Pues cabe tanto en vos del bien del cielo’ by SpanishNeapolitan poet Francisco de Aldana (1537-78) challenges interpretation through its genre-defying mix of consolatory, philosophic, and amatory elements; in particular, its inclusion of an enigmatic statement by a ventriloquized female figure alien to contemporary Hispanic courtly poetry. In this study, I offer an interpretation through a comparative study with the Rime amorose (1538) of Vittoria Colonna (1490-1547), in which she popularized the Petrarchan voice of the desiring widow in Italian poetry. After establishing a link between the Aldana and Colonna families by
virtue of the fragment ‘Aunque a la alta región del alegría’, which addresses the death of Colonna’s niece, I explain how the yearning
contained within Colonna’s lyric, noted to possess an erotic potential, may have led Aldana to incorporate this voice in his own poetic exploration of a combinatory spiritual and physical philosophy of love. Additionally, given the absence of the Colonnaesque tradition in Spain, I consider how expressions of desire by female voices in the arte menor and pastoral traditions potentially could have led to a similar interpretation for Hispanic readers.
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Posted 1 year ago