Outsider Art and the autistic creator

Outsider Art (art brut) is defined as a mode of original artistic expression which thrives on its independence, shunning the public sphere and the art market. Such art can be highly idiosyncratic and secretive, and reflects the individual creator''s attempt to construct a coherent, albeit strange, private world. Certain practitioners of what may be termed autistic art are examined in the light of this definition; their work is considered as evidence not of a medical condition but of an expressive intentionality entirely worthy of the interest of those drawn to the aesthetic experience.     

A cis-encoded sRNA,Hfq and mRNA secondary structure act independently to suppress IS200 transposition

IS200 is found throughout Enterobacteriaceae and transposes at a notoriously low frequency. In addition to the transposase protein (TnpA), IS200 encodes an uncharacterized Hfq-binding sRNA that is encoded opposite to the tnpA 5''UTR. In the current work we asked if this sRNA represses tnpA expression. We show here that the IS200 sRNA (named art200 for antisense regulator of transposase IS200) basepairs with tnpA to inhibit translation initiation. Unexpectedly, art200-tnpA pairing is limited to 40 bp, despite 90 nt of perfect complementarity. Additionally, we show that Hfq and RNA secondary structure in the tnpA 5''UTR each repress tnpA expression in an art200-independent manner. Finally, we show that disrupting translational control of tnpA expression leads to increased IS200 transposition in E. coli. The current work provides new mechanistic insight into why IS200 transposition is so strongly suppressed. The possibility of art200 acting in trans to regulate a yet-unidentified target is discussed as well as potential applications of the IS200 system for designing novel riboregulators.     

Art and the Middle-to-Upper Paleolithic transition in Europe: comments on the archaeological arguments for an early Upper Paleolithic antiquity of the Grotte Chauvet art

The spectacular art of the Grotte Chauvet stands out among all other examples of Aurignacian art, which are restricted to a handful of sites in other regions of western and Central Europe, which take the form of sophisticated carvings on organic materials and of simple engravings on rockshelter walls. Given its sophistication, Chauvet has understandably come to feature prominently in debates as to the nature of human symbolic origins, the behavioral capacities of Homo sapiens, the nature of the dispersal of modern humans across Europe, and the possibly contemporary extinction of Homo neanderthalensis. Significant objections to such an antiquity have, however, been made in recent years on the grounds of the style, themes, and technical practice of the art itself, and on the grounds of the AMS radiocarbon dating program that was first seen to suggest an early Upper Paleolithic age. To date, no attention has been paid to claims for an Aurignacian age on specifically archaeological grounds. Here, I undertake a critical examination of the archaeology of the cave and its wider region, as well as attempts to verify the antiquity of the art on the basis of comparison with well-dated Aurignacian art elsewhere. I conclude that none of the archaeological arguments withstand scrutiny and that many can be rejected as they are either incorrect or tautologous. By contrast, hypotheses that the art is of Gravettian-Magdalenian age have not been successfully eliminated. The age of the art of the Grotte Chauvet should be seen as a scientific problem, not an established fact. While it may prove impossible to prove an Aurignacian age for some of the Chauvet art I suggest a set of expectations that would, in combination, strengthen the robusticity of the ‘long chronology’ argument. The onus is upon Chauvet long chronologists to do this, and until they do, we must conclude that the art of the Grotte Chauvet is not dated, and very possibly much younger than claimed.     

Coevolutionary aesthetics in human and biotic artworlds

This work proposes a coevolutionary theory of aesthetics that encompasses both biotic and human arts. Anthropocentric perspectives in aesthetics prevent the recognition of the ontological complexity of the aesthetics of nature, and the aesthetic agency of many non-human organisms. The process of evaluative coevolution is shared by all biotic advertisements. I propose that art consists of a form of communication that coevolves with its own evaluation. Art and art history are population phenomena. I expand Arthur Danto’s Artworld concept to any aesthetic population of producers and evaluators. Current concepts of art cannot exclusively circumscribe the human arts from many forms of non-human biotic art. Without assuming an arbitrarily anthropocentric perspective, any concept of art will need to engage with biodiversity, and either recognize many instances of biotic advertisements as art, or exclude some instances of human art. Coevolutionary aesthetic theory provides a heuristic account of aesthetic change in both human and biotic artworlds, including the coevolutionary origin of aesthetic properties and aesthetic value within artworlds. Restructuring aesthetics, art criticism, and art history without human beings at the organizing centers of these disciplines stimulate new progress in our understanding of art, and the unique human contributions to aesthetics and aesthetic diversity.     

Les origines de l’art et les théories sur l’évolution humaine : le cas français

In recent years, we have witnessed an international debate about the question of the origins of art. On the one hand, some specialists have suggested that art appeared for the first time at the beginning of the Upper Paleolithic associated to the emergence of Homo sapiens sapiens. From this point of view, Paleolithic art as well as other hallmarks of behavioral modernity were exclusive to anatomically modern humans. On the other hand, some scholars have put into question the traditional paradigm concerning the origins of art and have suggested that artistic objects arose over a long period of time among different species, including Neanderthals. In order to contextualize this debate, we analyze in this article the history of the different interpretations and controversies concerning the question of the origins of art. Taking as reference the French case, we examine the connections between the different theories about art's origins suggested by Pleistocene art specialists during the last century and the dominant paradigms in human paleontology during the same period. Informed by one another, the question of the origins of art and that of human evolution seems to be inextricable linked.     

L’art bourgeois de la fin du XIX siècle face à l’art mobilier Paléolithique

On the occasion of the centenary of the Emile Cartailhac’s « Mea culpa d’un sceptique”, we want to reflect on one of the main questions of our discipline: Why has so-called « cave art” only been accepted as Paleolithic art in 1902, whereas the so-called « mobiliary art” had been accepted as Paleolithic art at the beginning of 1860s? In this paper, we want to suggest a definition of the conception of primitive art during the last third of the 19th century in order to understand: (A) Why Paleolithic paintings in the walls of some caves (Niaux, Chabot, Altamira) were not accepted as Paleolithic art between 1860 and 1902. (B) Given that what we now call mobiliary art is the same artistic phenomenon that prehistorians of the late 19th century thought of as primitive art, this article allows us to suggest a genealogy of mobiliary art. This genealogy will enable us to show that this concept not only defines a wide variety of forms, from engraving stones to carving in antler or ivory, but hides a multiplicity of meanings and connotations which originated in the period between 1860 and 1900.     

South African rock art

The total number of rock art sites in South Africa certainly is in excess of 30,000. Collectively, they include well over a million images. However, fewer than 10,000 sites are listed on official databases. One reason for the lack of documentation is the high cost of establishing and maintaining recording programs. There is also a low level of public interest in rock art because both the art and the history of indigenous peoples have been neglected in school and university curricula. Matters are improving: At least one postgraduate university course dedicated to rock art will be offered at the University of the Witwatersrand beginning in 1999. Moreover, the gradual inclusion of cultural resources in heritage conservation and management programs is continuing. The significance of the oversight in the past is magnified if we consider the fragility of the art and the potential wealth of information it holds for understanding the evolution of South African society over the past 30,000 years. Rock art is an irreplaceable historical archive of extraordinary value. Although no one would dispute that this art must survive intact into the next millennium, research into its meaning is equally important if we are to convince the public that the art is worth saving. It is in this latter field that South African researchers have made a significant contribution to rock art studies in the past three decades.     

Ancient North American Art Surfaces in the Art World: A Review of Hero, Hawk, and Open Hand

Hero, Hawk, and Open Hand rated as a must-see for anyone with an interest in art of the ancient Americas or ancient art in general—an exhibition whose breadth and depth in terms of visual material would be difficult, if not impossible, to replicate. This review takes a look beyond the immediate frame of the exhibition at some additional context related to the appreciation of these objects as ancient art, including some reflection on the original objectives of the exhibition and what appeared, at least to this anthropologist, as palpably missing or unspoken.     

Nouvelles découvertes d'art rupestre au Mato Grosso (Cidade de Pedra, Rondonópolis, Brésil)

Since 1983, Professor Agueda Vilhena-Vialou is conducting in Mato Grosso (Brazil) the French-brasilian archeological mission Fossil men and their paleo-environments in the Paraná basin. Its goal is the study of the first prehistoric settlements of Latin America's heart, in their economic, social, cultural and symbolic dimensions. Thanks to the complementary and comparative analysis of the habitats, the regional settlements and the rock art, our research targets a more precise definition of territories and cultures proper of the prehistoric human groups from the South of the actual Mato Grosso state. The study of rock art, the most revealing aspect of symbolic behaviours, is one of the strongest programs inside our multidisciplinary team. Today, thanks to systematic prospections led along the Rio Vermelho (between Pantanal swamp at West and Rondonópolis city at East), a hundred rock art sites (walls, shelters and caves), decorated with signs, animals and humans, have been discovered, and, for the most of them, studied. These figures are painted, engraved and more rarely sculpted. Along those pages, the author is presenting the preliminary analysis of ten new rock art sites, recently identified in a cliff on the right bank of the Vermelho River. He starts a comparative study with the sites of the Cidade de Pedra and of close micro basin, from the left bank of the River. This research is showing the symbolic identities, both common and specific, proper to different territories of this major rock art region of Brazil, which is divided in several areas and micro territories, shared but autonomous.     

A Prehistoric Mural in Spain Depicting Neurotropic <Emphasis Type="Italic">Psilocybe</Emphasis> Mushrooms?<Superscript>1</Superscript>

A Prehistoric Mural in Spain Depicting NeurotropicPsilocybeMushrooms? The Selva Pascuala mural, a work of post-Paleolithic rock art in Spain, contains fungoid figures herein hypothesized to depict neurotropic fungi, especially Psilocybe hispanica, a species that occurs in a neighboring region. This hypothesis is based on features of these figures related to fungal morphology, along with ethnographic analogy, and shamanistic explanations of rock art. If correct, this interpretation would support inference of prehistoric utilization of this fungus in the region. The mural represents the first direct evidence for possible ritual use of Psilocybe in prehistoric Europe.     

Observation and visualization: reflections on the relationship between science, visual arts, and the evolution of the scientific image

The connections between biological sciences, art and printed images are of great interest to the author. She reflects on the historical relevance of visual representations for science. She argues that the connection between art and science seems to have diminished during the twentieth century. However, this connection is currently growing stronger again through digital media and new imaging methods. Scientific illustrations have fuelled art, while visual modeling tools have assisted scientific research. As a print media artist, she explores the relationship between art and science in her studio practice and will present this historical connection with examples related to evolution, microbiology and her own work. Art and science share a common source, which leads to scrutiny and enquiry. Science sets out to reveal and explain our reality, whereas art comments and makes connections that don’t need to be tested by rigorous protocols. Art and science should each be evaluated on their own merit. Allowing room for both in the quest to understand our world will lead to an enriched experience.     

L.S. Vygotsky and the Theater

The article presents the analysis of L.S. Vygotsky's works dedicated to the theater arts and is organized according Vygotsky's different life and work stages. Meanwhile special attention is paid to the Gomel period during which a large number of reviews were written by Vygotsky and published in “Nash ponedel'nik” and “Polesskaia pravda” newspapers. Biographical facts are widely used in this analysis and help to clarify Vygotsky's interest in art. It is shown that even at the beginning of his oeuvre, he was interested not only in a range of problems in art, but also psychological problems related to art perception and creativeness. Vygotsky's usage of structural concept ideas about the peculiar properties of literary text composition are also explored. Vygotsky analyzes the socio-psychological mechanisms of theatrical art effect. Furthermore, those areas which are widely used by Vygotsky in determining the characteristics of cast reincarnation are examined. Special emphasis is placed on the different elements of the actor techniques (speech, movement, emotional expression, acting personality and etc.). Materials are widely used in this study and help identify the socio-cultural context that defined Vygotsky's values at different stages of his work, related to his drama criticism and his formation as a professional psychologist.     

Musical string instruments: Potential and limitations of tree-ring dating and provenancing to verify their authenticity

Authenticity is the prime factor affecting the market value of a work of art. String instruments are among the most valued works of art, particularly those made by the old violin-making masters of northern Italy in the late 17th and early 18th centuries. However, it is difficult to verify the authenticity of string instruments on the basis of style and design alone, as these are often copied or forged. Uncertainties related to craftsmanship can lead to financial and legal controversy, sometimes with even millions of dollars at stake. The authenticity of the Stradivari “Messiah” has long been disputed. Controversies at the end of the 1990s concerning its craftsmanship have enhanced interest in dating this violin. After different dendrochronological analyses provided conflicting tree-ring dates for the front of the violin, a scientifically-sound dendrochronological study eventually established 1682 as terminus post quem, i.e., the year when the last ring of the violin front was formed, before which the violin could not have been made. This date is consistent with the attributed date of manufacture, 1716, supporting Antonio Stradivari as the maker of the “Messiah”. However, this controversial dating of the “Messiah” sent shockwaves through the violin community. Here, we present the main facts which played a role in this controversy and we show how dangerous the use of dendrochronology can be if investigators do not adhere to well-established techniques and are not versed scholars in the literature. Such controversies threaten the reputation of dendrochronology. Today, many false theories and conceptual mistakes continue to circulate in the violin community. A thorough and scientifically-sound dendrochronological analysis of the wood used to make the instrument is the only analysis that can objectively indicate, if not the exact year an instrument was made, at least the date before which it certainly was not made. Here, we describe the importance, in terms of acoustics, of the anatomical characteristics of the wood with which instruments are made and its possible geographical provenance. We review the dendrochronological studies undertaken to assess the authenticity of the instruments made by the old Italian masters. Such studies help to establish the earliest date the tree from which the wood was taken could have been felled, and to determine the source region of the wood. We present the main achievements and challenges that have arisen in the past 50 years of studying the authenticity of string instruments, and discuss the limitations and advantages of using dendrochronological methods to establish the provenance and time period in which a work of art was created. Finally, we describe needs of research in history, wood anatomy and dendrochronology, proposing several new methods that may open up new avenues of research and aid in the assessment of the authenticity of old string instruments.     

Lensless On-chip Imaging of Cells Provides a New Tool for High-throughput Cell-Biology and Medical Diagnostics

Conventional optical microscopes image cells by use of objective lenses that work together with other lenses and optical components. While quite effective, this classical approach has certain limitations for miniaturization of the imaging platform to make it compatible with the advanced state of the art in microfluidics. In this report, we introduce experimental details of a lensless on-chip imaging concept termed LUCAS (Lensless Ultra-wide field-of-view Cell monitoring Array platform based on Shadow imaging) that does not require any microscope objectives or other bulky optical components to image a heterogeneous cell solution over an ultra-wide field of view that can span as large as ~18 cm². Moreover, unlike conventional microscopes, LUCAS can image a heterogeneous cell solution of interest over a depth-of-field of ~5 mm without the need for refocusing which corresponds to up to ~9 mL sample volume. This imaging platform records the shadows (i.e., lensless digital holograms) of each cell of interest within its field of view, and automated digital processing of these cell shadows can determine the type, the count and the relative positions of cells within the solution. Because it does not require any bulky optical components or mechanical scanning stages it offers a significantly miniaturized platform that at the same time reduces the cost, which is quite important for especially point of care diagnostic tools. Furthermore, the imaging throughput of this platform is orders of magnitude better than conventional optical microscopes, which could be exceedingly valuable for high-throughput cell-biology experiments.Download video file.^{(92M, mp4)}     

Patines et cortex de météorisation de grès du site rupestre d’Oum La Leg (Anti-Atlas, Maroc)

Within the framework of the European Commission's program “Patine du Desert” (DG Research; INCO-CT-FP6-2004-509100), partially concerning the preservation of Saharan engraved rock art, the approach led to the study of the sandstone patina from the rock art site of Oum La Leg (Anti-Atlas, Morocco). The rock and its Tazina school engravings are sometimes covered with a thin brown-ochre coating which only shows a dark patina, the desert patina. This film corresponds to a weathering cortex whose formation is contemporary with wet events from the Holocene period. On the surface, the patinas’ diversity is linked to the heterogeneous distribution of manganese oxides (birnessite and todorokite) due to a reorganisation which led to the incorporation of aeolian silts. Some dating suggestions are made to establish an ante quem age for the engraved lines.     

Bioinformatics Analysis Identify Novel OB Fold Protein Coding Genes in C. elegans

Background

The C. elegans genome has been extensively annotated by the WormBase consortium that uses state of the art bioinformatics pipelines, functional genomics and manual curation approaches. As a result, the identification of novel genes in silico in this model organism is becoming more challenging requiring new approaches. The Oligonucleotide-oligosaccharide binding (OB) fold is a highly divergent protein family, in which protein sequences, in spite of having the same fold, share very little sequence identity (5–25%). Therefore, evidence from sequence-based annotation may not be sufficient to identify all the members of this family. In C. elegans, the number of OB-fold proteins reported is remarkably low (n = 46) compared to other evolutionary-related eukaryotes, such as yeast S. cerevisiae (n = 344) or fruit fly D. melanogaster (n = 84). Gene loss during evolution or differences in the level of annotation for this protein family, may explain these discrepancies.

Methodology/Principal Findings

This study examines the possibility that novel OB-fold coding genes exist in the worm. We developed a bioinformatics approach that uses the most sensitive sequence-sequence, sequence-profile and profile-profile similarity search methods followed by 3D-structure prediction as a filtering step to eliminate false positive candidate sequences. We have predicted 18 coding genes containing the OB-fold that have remarkably partially been characterized in C. elegans.

Conclusions/Significance

This study raises the possibility that the annotation of highly divergent protein fold families can be improved in C. elegans. Similar strategies could be implemented for large scale analysis by the WormBase consortium when novel versions of the genome sequence of C. elegans, or other evolutionary related species are being released. This approach is of general interest to the scientific community since it can be used to annotate any genome.     

Regulation of Rho-GEF Rgf3 by the arrestin Art1 in fission yeast cytokinesis

Rho GTPases, activated by guanine nucleotide exchange factors (GEFs), are essential regulators of polarized cell growth, cytokinesis, and many other cellular processes. However, the regulation of Rho-GEFs themselves is not well understood. Rgf3 is an essential GEF for Rho1 GTPase in fission yeast. We show that Rgf3 protein levels and localization are regulated by arrestin-related protein Art1. art1∆ cells lyse during cell separation with a thinner and defective septum. As does Rgf3, Art1 concentrates to the contractile ring starting at early anaphase and spreads to the septum during and after ring constriction. Art1 localization depends on its C-terminus, and Art1 is important for maintaining Rgf3 protein levels. Biochemical experiments reveal that the Rgf3 C-terminus binds to Art1. Using an Rgf3 conditional mutant and mislocalization experiments, we found that Art1 and Rgf3 are interdependent for localization to the division site. As expected, active Rho1 levels at the division site are reduced in art1∆ and rgf3 mutant cells. Taken together, these data reveal that the arrestin family protein Art1 regulates the protein levels and localization of the Rho-GEF Rgf3, which in turn modulates active Rho1 levels during fission yeast cytokinesis.     

The importance of cultural knowledge and scale for analysing internet search data as a proxy for public interest toward the environment

Recent analyses of Internet search behaviour conclude that the public’s interest in environmental issues is falling (McCallum and Bury, Biodiv Conserv 22:1355–1367, 2013). Ficetola (Biodiv Conserv 22:2983–2988, 2013) argued that the nature of the underpinning data processing may create an artificially declining trend, even when the absolute number of searches increases and public interest is growing. These findings are highly relevant for applied conservation strategies and the public media have quickly picked the message of the alarming fading interest worldwide, the possibility of devastating repercussions and calls for rapid responses in conservation communication. We challenge both analysis by evaluating Internet searches of English and non-English speaking users. The inclusion of information on the linguistic background reveals a much more differentiated picture, with some cultures displaying an increasing interest and others a decreasing interest. These analyses allow a better understanding of the importance of global—local viewpoints, cultural knowledge and cultural differences on the interpretation of underpinning human interest from Internet search patterns. Despite methodological problems limiting the utility of summary data provided by search engines, they can offer powerful information when applied spatially and temporally restricted and analysed alongside suitable benchmark indicators. We discuss that due consideration of methodological caveats is essential to inform the general public about the relevance for conservation without triggering sensationalist or over-generalizing conclusions. Conservation communication needs considering that Internet search engines do not necessarily mirror the interest of many people who are essential for the conservation of biodiversity.