Participatory action research for primate conservation: A critical analysis of a nonformal education program in Southern Mexico.

Historically, Mexico has had an important role in primate conservation research, however, studies have rarely included the human dimensions of primatology. Inclusion of these disciplines should be a priority, considering that human activities are responsible for the current socio-ecological crisis. Mexico is habitat for three primate species, and all are threatened. This urgency demands new approaches and broader perspectives. First, we propose three main research frameworks relevant for conducting PCEPs in Latin America: Participatory Action Research, Arts-based education in PCEPs and Knowledge Coproduction. Furthermore, we aimed to (1) describe a case study about primate conservation education in Southern Mexico based on participatory visual methods under the umbrella of Participatory Action Research (PAR), and (2) to conduct a self-reflective, critical, straightforward, and constructive analysis of the experience. We discuss the various challenges faced during the process (e.g., traditional teaching prevalence at schools, teachers that are not school-based, time and academic constraints). Additionally, we highlight some PAR aspects applicable for researchers and practitioners interested to go further than knowledge transmission (e.g., codesign, arts-based education, placed-based education, critical thinking, and capacity building). To collectively progress in primate conservation education in Mexico and other Latin American countries, projects could greatly benefit from context-specific, people-centered approaches, such as PAR. We encourage researchers to share more of their personal research experiences including both their successes and failures.

Emergent categorization in the recognition of black and white paintings through conditional discrimination.

BACKGROUND: The emergent categorization involving paintings by renowned painters and their corresponding names was demonstrated by previous studies. However, the results of these studies suggest that the colors of the pictures may have played a preponderant role, obscuring other aspects of the stimuli that could be more directly related to the style of each painter. To verify this possibility, the present study used the same methodology of Ferreira et al. to investigate the establishment of emergent conditional relations between categories composed of black and white paintings and the names of their authors. METHOD: The procedure consisted of the training of relations between each of the ten paintings and an abstract picture, for each of the three painters Botticelli, Monet, and Picasso. Relations between each of the three abstract figures and the printed name of one of the painters were verified in sequence. Finally, tests of relations between five trained and five untrained paintings of each artist and the printed names were conducted. RESULTS: The participants' performance suggests that the outcome was properly controlled by aspects pertinent to the paintings that belonged to each painter's category. CONCLUSIONS: The results reinforced the data obtained previously with colored pictures, suggesting that the process of emergent categorization involving artificial categories of paintings is robust. It also indicates possibilities for future investigations, for example, using stimuli of other artistic productions, such as sculpture and music.

Neurology specialists' visual interpretation of psychogenic nonepileptic seizures: Contemplating their etiology and existing challenges.

PURPOSE: The purpose of this study was to explore how neurology specialists with interest in epilepsy depict psychogenic nonepileptic seizures (PNES) and their experience of diagnosing and treating the disorder. METHODS: An art project was organized as part of the curriculum of the 14th Latin American Summer School on Epilepsy (LASSE) in São Paulo (Brazil) from February 27th to March 6th, 2020. Willing neurologists were invited to draw or paint PNES and present their professional perspective of this disorder. Grouped by common themes, the artworks were analyzed in the context of the existing literature on PNES. RESULTS: The participants created 31 paintings and drawings, 13 of which were selected to represent the recurring themes. Throughout the artworks, neurologists often portrayed PNES as masking the underlying psychological issues, but there was little emphasis on the genesis of PNES itself. The manifestation of PNES was more attributed to just emotional suppression rather than to the influence of different situational factors on a pre-established seizure scaffold. Considering the management of PNES, neurology specialists used the symbol of a labyrinth to represent the difficulties of effectively providing diagnosis and multidisciplinary care for the patients. The general outlook on PNES was associated with darkness, possibly due to limited understanding of the disorder's nature and the unavailability of effective treatment options. CONCLUSION: Our study shows that art projects can be useful to better grasp neurology specialists' opinions about a certain disorder. Further research is needed to elucidate the mechanisms of PNES and help establish multidisciplinary care.

Emergent categorization in the recognition of black and white paintings through conditional discrimination

Abstract Background: The emergent categorization involving paintings by renowned painters and their corresponding names was demonstrated by previous studies. However, the results of these studies suggest that the colors of the pictures may have played a preponderant role, obscuring other aspects of the stimuli that could be more directly related to the style of each painter. To verify this possibility, the present study used the same methodology of Ferreira et al. to investigate the establishment of emergent conditional relations between categories composed of black and white paintings and the names of their authors. Method: The procedure consisted of the training of relations between each of the ten paintings and an abstract picture, for each of the three painters Botticelli, Monet, and Picasso. Relations between each of the three abstract figures and the printed name of one of the painters were verified in sequence. Finally, tests of relations between five trained and five untrained paintings of each artist and the printed names were conducted. Results: The participants' performance suggests that the outcome was properly controlled by aspects pertinent to the paintings that belonged to each painter's category. Conclusions: The results reinforced the data obtained previously with colored pictures, suggesting that the process of emergent categorization involving artificial categories of paintings is robust. It also indicates possibilities for future investigations, for example, using stimuli of other artistic productions, such as sculpture and music.

Pre-colonial culture and technology through elemental and molecular analysis of ceramics with decorative paintings found at Tapera beach, Florianópolis, Brazil.

The chemical analysis of archaeological ceramic artifacts can help archaeologists to characterize the technology used in the manufacturing process, and to elucidate aspects related to the way of life of past peoples. In this context, six ceramic fragments found at Tapera Beach in Florianópolis were analyzed. FTIR spectroscopy was used to identify carbonates and oxalic acid originating from the biodegradation process. In the pictorial regions of the ceramics, iron oxides, manganese and chromium were present, along with calcium carbonate, which were used as pigments. In addition, the absence of characteristic bands for kaolinite suggests low firing temperatures (up to 900 °C). EDS confirmed the elements of the molecules identified by FTIR and showed the presence of Al and Si in the primary structure and Fe in the secondary structure of the ceramics. In addition, there were traces of rare earth elements in samples A3 and A5, which may be related to the geochemistry at the site from which the raw material was excavated. The GC-MS results showed the presence of lipids and the profile of the fatty acids detected suggested that the source of the oils adsorbed in the ceramic structure is vegetable.

Goiter in Brazilian modernism paintings / Bócio em pinturas da arte moderna brasileira

Objective: To evaluate Di Cavalcanti's artworks in which goiters are represented before and after the introduction of iodized salt to the Brazilian population. Methods: One hundred and thirty paintings by Di Cavalcanti from the 20's to 70's demonstrating necks were evaluated. All the paintings were observed in reproductions. The neck circumference in the paintings was measured. Since there were no standard thresholds of neck circumference, cutoffs were based on the median. Baseline characteristics of artworks were compared based on high and normal neck circumference categories using Student's t-test, Mann-Whitney-Wilcoxon test, or chi square test. Results: We analyzed 29 artworks which portray the neck of 60 women (84.5%), 8 men (11.3%) and 3 children (4.2%). The analyses of the neck circumference showed 23.3% of women (14/60), 12.5% of men (1/8), and 33.3% of children (1/3) with an abnormal profile of the neck circumference. The neck circumference ratio in 29 paintings showed that the relative sizes of the necks painted between the 1920's and 1950's (r=0.45; p=0.03), and painted between the 1960's and 70's (r= 0.54; p=0.003) have linearly decreased. The decades in which the artworks were painted explained 40.0% of the variation in size of the neck circumference (p=0.002). Conclusion: Art imitates life. Di Cavalcanti was not a physician, and probably did not have the intention to illustrate a pathological condition, although the images observed in this study should be considered as goiter or enlarged neck.

Objetivo: Avaliar as obras de Di Cavalcanti em que bócios estão representados, antes e após a introdução da iodação do sal para a população brasileira. Método: Foram avaliadas 130 pinturas de Di Cavalcanti entre os anos 1920 e 1970 demonstrando pescoços. Todas as pinturas foram observadas em reproduções. A circunferência do pescoço nas pinturas foi mensurada. Como não existia limite-padrão da circunferência do pescoço, os limites foram baseados na mediana. As características básicas das obras de arte foram comparadas por categorias da circunferência do pescoço em elevadas e normais, usando o teste t de Student, o teste de Mann-Whitney-Wilcoxon ou o teste qui-quadrado. Resultados: Analisamos 29 obras de arte que representavam o pescoço de 60 mulheres (84,5%), 8 homens (11,3%) e 3 crianças (4,2%). Ao analisar a circunferência do pescoço, 23,3% das mulheres (14/60), 12,5% dos homens (1/8) e 33,3% das crianças (1/3) demonstraram perfil anormal dela. A relação da circunferência do pescoço em 29 pinturas demonstrou que as circunferências do pescoço relativas aos pescoços pintados entre os anos 1920 e 1950 (r=0,45; p=0,03) e pintados entre os anos 1960 e 1970 (r=0,54; p=0,003) reduziram linearmente. As décadas em que as obra foram pintadas explicaram 40,0% da variação no tamanho da circunferência do pescoço (p=0,002). Conclusão: A arte imita a vida. Di Cavalcanti não era médico e, provavelmente, não tinha intenção de ilustrar uma condição patológica, embora as observações das imagens, neste estudo, tenham sido consideradas como bócio ou com aumento de volume do pescoço

Autophagic paintings: In the frontier of art and science.

As a PhD student I explored macroautophagy/autophagy induced by starvation in Drosophila melanogaster using different microscopy techniques. The beauty and complexity of this process impressed me so deeply that I felt the need to paint it. Thus, I made 2 oil paintings based on my own scientific work, representing the autophagy mechanism at different scales with diverse artistic resources. The first painting, called Autophagy 1, is inspired by fluorescence confocal microscopy images. Therefore, saturated colors predominate in the composition. The second one is an oil on canvas titled Autophagy 2 which reflects autophagy at a smaller scale. This painting depicts this process as revealed by transmission electron microscopy, employing mainly a gray scale of colors. I performed these works with the intention to catch the essence of this biological process, conveying scientific ideas through art. My paintings are not intended only for the scientific community but also for the general public, as an instrument of enjoyment and popularization of science.

Pulsões de destruição e doenças somáticas / Destructive drives and somatic illnesses / Pulsiones de destrucción y enfermedades somáticas

O autor examina primeiramente a ambiguidade dos conceitos de P. Marty (regressão, desorganização). Considera a necessidade da revisão do conceito de pulsão, que, tal qual concebido, explica insuficientemente as desorganizações da psicossomática. Propõe a hipótese de uma dissociação precoce entre a pulsão e o objeto nas estruturas psicossomáticas. Conclui com o exemplo de Goya, que sofreu crises somáticas que quase o levaram à morte, e sua produção das Pinturas negras, posterior a esse período

The author first examines the ambiguity in the concepts of Pierre Marty (regression, disorganisation). He considers the need to revise the concept of the drive which as it now stands, does not account well enough for disorganisations in psychosomatics. He proposes the hypothesis of an early dissociation between the drive and the object in psychosomatic structures. He concludes using the example of Goya who suffered from somatic crises which almost killed him, afterwards leading him to produce the Black paintings

El autor destaca en primer lugar la ambigüedad de los conceptos de Pierre Marty (regresión, desorganización) y contempla la necesidad de revisar el concepto de pulsión que, tal cual, no refleja las desorganizaciones de la psicosomática. Propone la hipótesis de una disociación precoz entre la pulsión y el objeto en las estructuras psicosomáticas. Concluye con el ejemplo de Goya y las crisis de somatización que le llevaron al borde de la muerte y desembocaron en la producción de las Pinturas negras

History of art paintings through the lens of entropy and complexity.

Art is the ultimate expression of human creativity that is deeply influenced by the philosophy and culture of the corresponding historical epoch. The quantitative analysis of art is therefore essential for better understanding human cultural evolution. Here, we present a large-scale quantitative analysis of almost 140,000 paintings, spanning nearly a millennium of art history. Based on the local spatial patterns in the images of these paintings, we estimate the permutation entropy and the statistical complexity of each painting. These measures map the degree of visual order of artworks into a scale of order-disorder and simplicity-complexity that locally reflects qualitative categories proposed by art historians. The dynamical behavior of these measures reveals a clear temporal evolution of art, marked by transitions that agree with the main historical periods of art. Our research shows that different artistic styles have a distinct average degree of entropy and complexity, thus allowing a hierarchical organization and clustering of styles according to these metrics. We have further verified that the identified groups correspond well with the textual content used to qualitatively describe the styles and the applied complexity-entropy measures can be used for an effective classification of artworks.

Entropy Signature for Crack Networks in Old Paintings: Saturation Prospectus.

In desiccated films, particularly with old paintings, molecular bonds may break to create intricate patterns of macroscopic cracks. The resulting directions of the cracks quantifiably enable an evaluation of the entropy and degree of disorder in the network. Experimental tests on prepared samples and a two-interacting-variables model allow the evolution of entropy to be tracked. Calculations were performed, primarily using data from the painting Girl with a Pearl Earring by Vermeer, revealing that the left side of the girl's face features a crack structure with higher entropy (or less order) than the right side. Other old paintings were considered. The extrapolation of experiments to these old paintings confirms that saturation still is not reached.

Paul Cézanne, el solitario padre de la pintura moderna / Paul Cézanne, the lonely precursor of modern painting

Paul Cézanne is an acknowledged pioneer of modern painting. His work was poorly recognized during most of his solitary life. He progressively withdrew from people and society during his life, in part due to his introverted personality and a supreme effort to obtain a unique form of expression of his art, in which nature and its inner secrets played a pivotal role. In this review, we discuss aspects of his life and art, his pathological personal relationships and how they influenced his transcendental work.

Spectroscopic characterization of sixteenth century panel painting references using Raman, surface-enhanced Raman spectroscopy and helium-Raman system for in situ analysis of Ibero-American Colonial paintings.

Colonial panel paintings constitute an essential part of Latin-American cultural heritage. Their study is vital for understanding the manufacturing process, including its evolution in history, as well as its authorship, dating and other information significant to art history and conservation purposes. Raman spectroscopy supplies a non-destructive characterization tool, which can be implemented for in situ analysis, via portable equipment. Specific methodologies must be developed, comprising the elaboration of reference panel paintings using techniques and materials similar to those of the analysed period, as well as the determination of the best analysis conditions for different pigments and ground preparations. In order to do so, Raman spectroscopy at 532, 785 and 1064 nm, surface-enhanced Raman spectroscopy (SERS) and a helium-Raman system were applied to a panel painting reference, in combination with X-ray fluorescence analysis. We were able to establish the analysis conditions for a number of sixteenth century pigments and dyes, and other relevant components of panel paintings from this period, 1064 nm Raman and SERS being the most successful. The acquired spectra contain valuable specific information for their identification and they conform a very useful database that can be applied to the analysis of Ibero-American Colonial paintings.This article is part of the themed issue 'Raman spectroscopy in art and archaeology'.

A temática da velhice em pinturas expressionistas / The theme of Old Age in expressionists paintings

No presente artigo são analisadas pinturas expressionistas com a temática da velhice e do envelhecimento. Encontraram-se obras representativas do cenário do envelhecimento em pinturas expressionistas de autores nacionais e internacionais. O estudo das mesmas, retratando a velhice, o envelhecimento, e as fases da vida, fornecem dados para que se conjecture como estes pintores viam a pessoa idosa do ponto de vista biopsicossocial.(AU)

In this article are analyzed expressionist paintings with the theme of old age and aging. We met representative works of the aging scenario in expressionist paintings of national and international authors. The study of these paintings, portraying old age, aging and life stages, provide data for the conjecture as these painters saw the elder from the point of view bio-psycho-social.(AU)

A temática da velhice em pinturas expressionistas / The theme of Old Age in expressionists paintings

No presente artigo são analisadas pinturas expressionistas com a temática da velhice e do envelhecimento. Encontraram-se obras representativas do cenário do envelhecimento em pinturas expressionistas de autores nacionais e internacionais. O estudo das mesmas, retratando a velhice, o envelhecimento, e as fases da vida, fornecem dados para que se conjecture como estes pintores viam a pessoa idosa do ponto de vista biopsicossocial.

In this article are analyzed expressionist paintings with the theme of old age and aging. We met representative works of the aging scenario in expressionist paintings of national and international authors. The study of these paintings, portraying old age, aging and life stages, provide data for the conjecture as these painters saw the elder from the point of view bio-psycho-social.

Art and pain in Frida Kahlo / Arte e dor em Frida Kahlo

BACKGROUND AND OBJECTIVES: The Mexican painter Frida Kahlo is one of the most important artists of the twentieth century. After being involved in a car accident, remained at home to recover from several injuries, significant event for the dawning of her painting. The aim of this study was to present aspects of the biography and life of Frida, seeking intersections between her artwork and her painful experiences. CONTENTS: From the appreciation of film and screens selected author - analyzed with the support of the articles obtained in the literature review - held four sections to the presentation of evidence obtained: (1) the 'origins' of Frida (2) first accident, (3) the second accident: Diego Rivera and (4) the Martyrdom of frustrated motherhood. CONCLUSION: Frida found in art her comfort, transforming her painful and intense trajectory in a work that reflected the meaning of her existence. .

JUSTIFICATIVA E OBJETIVOS: A pintora mexicana Frida Kahlo é uma das mais importantes artistas do século XX. Após envolvimento em um acidente automobilístico, permaneceu em repouso para se recuperar das diversas lesões, evento significativo para o alvorecer de sua pintura. O objetivo deste estudo foi apresentar aspectos da biografia e da arte de Frida, buscando interseções entre sua arte e suas experiências de dor. CONTEÚDO: A partir da apreciação do filme e de telas selecionadas da autora - analisadas com o apoio dos artigos obtidos na revisão da literatura - foram organizadas quatro seções para a apresentação dos elementos obtidos: (1) As 'origens' de Frida, (2) O primeiro acidente, (3) O segundo acidente: Diego Rivera e (4) O martírio da maternidade frustrada. CONCLUSÃO: Frida obteve na arte seu maior conforto, transformando sua trajetória dolorosa e intensa em um fecundo processo de criação, o qual refletiu os sentidos de sua existência. .

Personal reflections on Jackson Pollock's fractal paintings

The art world changed forever when Jackson Pollock picked up a can and poured paint onto a vast canvas rolled across the floor of his windswept barn. Fifty years on, art theorists recognize his patterns as being a revolutionary approach to aesthetics. A significant step forward in understanding Pollock's aesthetics occurred in 1999 when my scientific analysis showed that his paintings are fractal. Fractals consist of patterns that recur at finer and finer magnifications, building up shapes of immense complexity. Significantly, many natural patterns (for example, lightning, clouds, mountains, and trees) are also fractal. In this essay, I will present some personal reflections on this relationship between the fractal patterns of Pollock and those of nature, and also on the interactions between art and science as the project evolved.

O mundo da arte mudou para sempre quando Jackson Pollock apanhou uma lata e despejou tinta em uma enorme tela esticada sobre o chão de seu celeiro castigado pelo vento. Cinqüenta anos depois, os teóricos da arte reconhecem que seu estilo constitui uma abordagem estética revolucionária. Um passo importante na compreensão da estética de Pollock se deu em 1999, quando, de acordo com a minha análise científica, suas pinturas eram fractais. Fractais são padrões que recorrem em sucessivos desdobramentos, construindo formas de imensa complexidade. Sugestivamente, muitos padrões naturais (como raios, nuvens, montanhas e árvores) também são fractais. No presente trabalho, apresento algumas reflexões pessoais sobre essa relação entre os padrões fractais de Pollock e os da natureza, assim como sobre as interações entre arte e ciência.