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 In many respects, it was superseded by immediate events (Charles II’s disastrous military campaign and exile) and then overshadowed at the Restoration (and by the 1661 Westminster Abbey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 2 years 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 2 years 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 2 years ago
Rakesh Netha Vadnala,
Rakesh Netha Vadnala
Institution: 1The Institute of Mathematical Sciences,
Email: rakeshnetha@imsc.res.in
Sridhar Hannenhalli,
Sridhar Hannenhalli
Institution: National Cancer Institute, National Institutes of Health,
Email: rakeshnetha@imsc.res.in
Leelavati Narlikar,
Leelavati Narlikar
Institution: Department of Data Science, Indian Institute of Science Education and Research,
Email: rakeshnetha@imsc.res.in
Rahul Siddharthan
Rahul Siddharthan
Institution: The Institute of Mathematical Sciences,
Email: rakeshnetha@imsc.res.in
Transcription factors (TFs) and their binding sites have evolved to interact cooperatively or competitively with each other. Here we examine in detail, across multiple cell lines, such cooperation or competition among TFs both in sequential and spatial proximity (using chromatin conformation capture...
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Transcription factors (TFs) and their binding sites have evolved to interact cooperatively or competitively with each other. Here we examine in detail, across multiple cell lines, such cooperation or competition among TFs both in sequential and spatial proximity (using chromatin conformation capture assays) on one hand, and based on both in vivo binding as well as TF binding motifs on the other. We ascertain significantly co-occurring (“attractive”) or avoiding (“repulsive”) TF pairs using robust randomized models
that retain the essential characteristics of the experimental data. Across human cell lines TFs organize into two groups, with intra-group attraction and inter-group repulsion. This is true for both sequential and spatial proximity, as well as for both in vivo binding and motifs. Attractive TF pairs exhibit significantly more physical interactions suggesting an underlying mechanism. The two TF groups differ significantly in their genomic and network properties, as well in their function—while one group regulates housekeeping
function, the other potentially regulates lineage-specific functions, that are disrupted in cancer. We also show that weaker binding sites tend to occur in spatially interacting regions of the genome. Our results suggest a complex pattern of spatial cooperativity of TFs that has evolved along with the genome to support housekeeping and lineage-specific functions.
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Posted 2 years ago
Sir William Temple (1628–1699), the eminent English ambassador to the Dutch Republic and a widely read essayist,1 famously used the term ‘sharawadgi’ (beauty without an apparent order)2 to describe the layout of Chinese gardens in his essay ‘Upon the Gardens of Epicurus’:Among us, the Beau...
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Sir William Temple (1628–1699), the eminent English ambassador to the Dutch Republic and a widely read essayist,1 famously used the term ‘sharawadgi’ (beauty without an apparent order)2 to describe the layout of Chinese gardens in his essay ‘Upon the Gardens of Epicurus’:Among us, the Beauty of Building and Planting is placed chiefly, in some certain Proportions, Symmetries, or Uniformities; our Walks and our Trees ranged so, as to answer one another, and at exact Distances. The Chineses scorn
this way of Planting, and say a Boy that can tell an hundred, may plant Walks of Trees in strait Lines, and over against one another, and to what Length and Extent He pleases. But their greatest reach of Imagination, is employed in contriving Figures, where the Beauty shall be great, and strike the eye, but without any order or disposition of parts, that shall be commonly or easily
observ’d. And though we have hardly any Notion of this sort of Beauty, yet they have a particular Word to express it; and where they find it hit their Eye at first sight, they say the Sharawadgi is fine or is admirable, or any such expression of Esteem.3
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Posted 2 years ago
"The Garden of Earthly Prosperity in Ground Zero" is a work of art by Isur Suroso. The painting reflects the story of the Sinom song in the text Babad Diponegoro. This fine art tells the story of Prince Diponegoro when he was raised by his great-grandmother in Tegalrejo Village, Yogyakarta. Tegalrej...
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"The Garden of Earthly Prosperity in Ground Zero" is a work of art by Isur Suroso. The painting reflects the story of the Sinom song in the text Babad Diponegoro. This fine art tells the story of Prince Diponegoro when he was raised by his great-grandmother in Tegalrejo Village, Yogyakarta. Tegalrejo Village has a simple community pattern. The beautiful natural environments in Tegalrejo Village are silent witnesses to Prince Diponegoro's life. This research aims to describe the concept of visual deconstruction with the COVID-19 pandemic situation. This research uses the deconstruction theory of Jacques Derrida. There are forms of
deconstruction meaning through the pandemic situation in this painting. The fine art of "The Garden of Earthly Prosperity in Ground Zero" is divided into three parts. These parts in this fine art can reflect normal life conditions before the coronavirus pandemic appeared and reflect life after the coronavirus pandemic hit the world. The middle part of "The Garden of Earthly Prosperity in Ground Zero" interprets normal conditions. Meanwhile, two other parts describe a pandemic situation
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Posted 2 years ago
Caroline Lillian Schopp
Caroline Lillian Schopp
Institution: unstated
Email: info@res00.com
Wolf Vostell is best known for the intermedial interactive events he staged on the streets of West Germany throughout the 1960s and 1970s. Berlin/100 Ereignisse (Berlin/100 events, 1965) exemplifies his work from the period, whichhe preferred to call ‘events’, ‘happenings’, ‘actions’, an...
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Wolf Vostell is best known for the intermedial interactive events he staged on the streets of West Germany throughout the 1960s and 1970s. Berlin/100 Ereignisse (Berlin/100 events, 1965) exemplifies his work from the period, whichhe preferred to call ‘events’, ‘happenings’, ‘actions’, and ‘demonstrations’, thus blurring the boundary between art and life while affiliating artistic practice with
political activism.1 Berlin/100 Ereignisse involved driving around the Western sector of the city in a car and making one hundred stops: to bury a clock in the rubble of Go¨rlitzer train station, meet a naked woman wearing a gas mask, confront a sign prohibiting loitering with ‘der realita¨t einer straße’ (the reality of a street) by wielding posters with current headlines as lowercase slogans –
‘weinender U.S.-soldat im vietnamkrieg!’ (crying US soldier in the Vietnam War), ‘straßenkampf in rhodesien!’ (rioting in Rhodesia), ‘rocker mit motorra¨-dern!’ (bikers with motorcycles) – pour out a bag of sugar near the Berlin Wall, and perform an array of other more ordinary activities like eating and waiting, all for a ‘Zufallspublikum’ (chance public).2 These ‘events’ indicate the ambivalent politics and site-specificity of Vostell’s work, which often explored the topography of post-war Germany
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Posted 2 years ago
Richard Wrigley
Richard Wrigley
Institution: unstated
Email: info@res00.com
In a corner of room 60 on the second floor of the Louvre’s Sully Wing, Ingres’s Portrait of Louis-Franc¸ois Bertin hangs adjacent to his study for Angelica saved by Ruggiero (1819) (Fig. 1).1 In the absence of Ruggiero, Angelica seems to look over her right shoulder, not at the hippogriff-ridin...
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In a corner of room 60 on the second floor of the Louvre’s Sully Wing, Ingres’s Portrait of Louis-Franc¸ois Bertin hangs adjacent to his study for Angelica saved by Ruggiero (1819) (Fig. 1).1 In the absence of Ruggiero, Angelica seems to look over her right shoulder, not at the hippogriff-riding knight who despatches a sea monster prior to rescuing her, but at a plump male figure resolutely oblivious
to his neighbour and her peril. The juxtaposition of Bertin’s self-confident gaze and relaxed body with Angelica’s vulnerable nakedness could be read as an exercise in iconographical incongruity, if not a moment of curatorial mischief (Fig. 2). But whatever the explanation for the painting’s current display, it is hard not to regard this as a dramatic fall from grace for a work that had occupied the ‘place of honour’ when first shown at the 1833 Salon, and attracted voluminous coverage in the press. Bertin’s relegation to the upper reaches of the Sully Wing is consistent with the assumption that its standing as a work of art has been compromised by the received idea that it is, above all else, a social document: an archetypal image of the newly dominant bourgeoisie of early nineteenth-century France.2
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Posted 2 years ago
When Chinese museums had to close their doors due to the outbreak of COVID-19, several online art exhibitions were created that were able to still create a sense of connectedness among their audience members during the pandemic. This article details three online exhibitions – by Chronus Art Center...
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When Chinese museums had to close their doors due to the outbreak of COVID-19, several online art exhibitions were created that were able to still create a sense of connectedness among their audience members during the pandemic. This article details three online exhibitions – by Chronus Art Center, by M WOODS, and by independent curator Yu Minhong – and explores how they
communicate ‘being-in-common’ (a concept by Jean-Luc Nancy) in the online realm; it also proposes alternative forms of
cosmopolitanism that do not rely on physical mobility. The exhibitions are analyzed using visual and discourse analysis and
supported by semi-structured in-depth interviews with the curators. This study shows that a cosmopolitan art world does not need to rely on physical travel if connectedness is understood as being-incommon rather than meeting-in-person, digital technology is
mobilized effectively, and cosmopolitanism is grounded in a relocalization. In an era when the global art world is looking for ways
to reinvent itself and the mobility system on which it operates, the article contends that it would do well to look to and learn from the
example of Chinese online exhibitions.
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Posted 2 years ago
When I began studying the Miftāḥ al-Fużalāʾ (Key of the Learned), Robert Skelton, the doyen of the art of the book in India, challenged me to imagine the many other manuscripts that would have been available to the artists who made this book. Attributed to the central Indian sultanate of Malwa...
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When I began studying the Miftāḥ al-Fużalāʾ (Key of the Learned), Robert Skelton, the doyen of the art of the book in India, challenged me to imagine the many other manuscripts that would have been available to the artists who made this book. Attributed to the central Indian sultanate of Malwa, the Miftāḥ is the only known illustrated Persian dictionary (farhang) in the Islamicate manuscript tradition. For its fifteenth-century makers, the Miftāḥ was a wholly new text, written in 1468–69 by
Muhammad ibn Muhammad Daʾud Shadiyabadi. The Miftāḥ required its artists to search for and codify visual representations of particular words from canonized manuscript genres such as the Islamicate cosmography (ʿajāʾib al-makhlūqāt) or works of belles-lettres (adab). This process of selectively adapting from an array of genres in order to create a new one, namely the illustrated farhang, would have allowed artists to experiment with the Islamicate manuscript tradition in India. By illustrating definitions, the Miftāḥ also became a manual on literary and visual languages for students in the fifteenth century. This article demonstrates that the book was conceived as a didactic work intended to educate members of sultanate society.
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Posted 2 years ago