Art

EL INDIGENA EN LA PINTURA GUATEMALTECA DEL SIGLO XX
Anaité Galeotti P. 9

ARQUEOASTRONOMÍA, CICLO AGRÍCOLA Y ASENTAMIENTO EN EL SITIO ARQUEOLÓGICO EL TLATOANI, TLAYACAPAN, MORELOS
Raúl Francisco González Quezada y Steffany Martínez Gómez P. 27

LOS LAZOS DE SAN JUAN COTZÁL, GUATEMALA
Byron Francisco Hernández Morales P. 54

Many college professors start with a broad range
of interests, but often it’s the example of a gifted
teacher that shows them the way. That was the case
with Dr. Jonathan Gilmore. “I was a pre-med student
taking hard science courses, but I had to take
a philosophy course as well, and I had an extraordinarily
dynamic art history professor. And then I
thought, ‘This is what I want to do.’ So I shifted
career plans, moved to New York right after college,
enrolled at Columbia and did a PhD in Philosophy,
but also studied for the PhD in art history at the
same time.”
“Some people enter into philosophy because
they’re interested in philosophy itself. I was actually
interested in art,” he says. A native of Shaker
Heights, near Cleveland, Ohio, Gilmore is today an
assistant professor in the Department of Philosophy
of the Weissman School of Arts and Sciences at
Baruch College/CUNY.

This paper examines how fat and disabled subjects may be taught to appear as happy through biopedagogies in order to manage shame and disgust evoked by their unruly, non-conforming bodies. We begin by articulating what we mean by “biopedagogies”. We then unpack how the requirement to be happy feeds directly into a neoliberal agenda, which demands we must take care of ourselves both economically and emotionally in order to be considered good citizens. We explore how, in the midst of the requirement to be happy while living in bodies not recognised as inhabitable, we create and find moments of alterity in/of happiness. Through analysing art by disabled and fat activists and artists, we examine how disabled and fat people find happiness in difference, rather than in spite of it while at the same time, hanging on to rage and dull pain within this alterity of happiness.

Large image databases are used in many multimedia applications such as entertainment, business, art, engineering and science. Searching information in these databases is a crucial problem to be solved for the development of visual information system. Therefore efficient retrieval methods are required for the purpose of finding a desired image from a collection of images. This research is focused on

Racially categorized art canon can be detrimental to an artist's work, and to its perception. Jimmie Durham, however, upsets expectations of what Native American art "should" be, demanding we question our reactions and prescribed narratives.

My art makes the invisible visible, limits of human awareness. Human consciousness and awareness is restricted by stereotypes and notions that cause philosophers and artists to exist in the dark ages as far as their perception and understanding of human inner and outer senses are concerned. Humans perceive 7 colors of rainbows with 16 to 37 or more colors, that are perceived by other organisms, for example certain sea creatures.

……………………… Can There Be One Set Of Aesthetics For 21 st Century Works? " Many sterile quarrels about aesthetics, many misunderstandings and one-sided views that obstruct full comprehension of art would be avoided if, instead of looking for some single principle or key to art, we grant that its nature is complex-complex to the point of seeming contradictory. " Rene Huyghe, Art And The Spirit Of Man When a certain set of aesthetics are so rigidly applied that they become highly exclusive or that they are so ambiguous to include as much as possible, there is no wonder as to why one would abandon the whole notion of aesthetics altogether. In our time, it quickly becomes apparent that we cannot impose one set of aesthetics for such a broad range of methods and modes. The next question is then; do we need any at all? I think yes. They help us understand our work and the work of others. They may reinforce what we do or expose what we fail to do. We live in a time where there is no one strict visual language. We must acknowledge the different dialects and accents that exist. If we are to move toward a set of aesthetics for the 21 st century, the approach lies not in trying to unify the multitudes of styles, but in accepting them as they are. Each author should begin by developing a personal set of aesthetics. Then, like-minded individuals can come together in groups to form their own set of aesthetics. In many cases, this is already in affect as differing schools, studios, and ateliers present their students with particular methods of study. These influences however do not necessarily (nor should they) remain static throughout a lifetime of working. We can form our own aesthetic through looking at what we want to say and how we want to say it. If we are aware of our own sensibility and intent, that is to say if we are more conscious of how we respond to the world and how we wish to present that response, we would find an aesthetic that develops from an authentic place within ourselves. Why we do what we do, how we do it, and why we are drawn to certain stimuli comes from our sensibility. Sensibility is not as easily changed as taste is. It is how we are wired. Our sensibility may widen or narrow over time, but the change evolves from within us. If we attempt to deny it, we encounter struggle personally and with our work. Sensibility drives how we respond and project to the world around us. It guides how we interpret and create experience. It shows itself through how we speak, with what and whom we surround ourselves, and how we make our pictures. Even when we are not conscious of its influence, our sensibility is ever present. What I propose is that we recognize many over few and that if we look at works for their inherent qualities, we can see them in ways that may be overlooked. Also, by examining sensibility and intent through four common traits in representational work, we may be able to add effectiveness to our own work and heighten our appreciation for the work of others. Let us now go into some of these thoughts that I hope will prove useful. Often when we look at representational work, we are inclined to scrutinize how well the work lives up to its believability—its mimetic nature. Some works are based on replicating visual effects produced through a mechanical lens opposed to how things appear to the eye. Regardless, likeness

According to worldwide surveys (such as PISA and TIMSS), European students often lack both mathematical and key basic competencies in science and technology. The mean scores for mathematics obtained by students are below the Organisation for Economic Cooperation and Development average (OECD). The learning of the mathematics literacy enables students to contribute effectively in actual society, enhancing their employment prospects.
This paper intends to describe an innovative learning and teaching approach, actually in the development phase, in the field of mathematics for 14-16 years old students through the combination of current approaches used in Europe (such as inquiry based learning and technology-enhanced learning) and the Asian one, the Singapore's method based on three phases, concrete-pictorial-abstract, through the use of artworks. This intends to allow the development of a more effective educational and training environment for teachers and their students who will benefit from the use of more attractive and fun pedagogical tools in the study of mathematics.

In the article, we have a task to introduce into scientific circulation the new data about a range and an amount of Fabergé firm art items, which were acquired by some members of Bulgarian, Serbian and Montenegrin dynasties. Dynastic ties between Russian Empire and Serbia and Montenegro let these countries to get monetary subsidies from the Tsar Nicholas II, which led to possibility of spending large amounts of money for Fabergé firm items. Also in the article will be reviewed the amount of gifts by Fabergé firm from the Cabinet of His Imperial Majesty. The main sources of the report are materials of the Cabinet of H.I.M. from funds of the Russian State Historical Archive and «Fabergé's bookkeeping book, 1909–1916», which was found out in the State Archive of the Russian Federation.

The German scholar Barthold Nihusius, a famous convert om Lutheranism to Catholicism, wrote forty letters om Amsterdam, where he worked in Blaeu's printing ooce, to Athanasius Kircher in Rome. These reveal how Dutch collections of antiquities and related publications contributed substantially to Kircher's interest in Egypt. The view that the hieroglyphs expressed the original language in which God had spoken to Adam attracted him in particular. In addition, the exchange resulted in detailed images of Egyptian antiquities. The transfer of knowledge om the Middle East through the Low Countries to the Eternal City appears as an essential route in the rise of Egyptian studies as a new discipline.