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.     

Continuity and Creativity in Iroquois Beadwork

This review essay of Across Borders: Beadwork in Iroquois Life focuses on the display of beadwork as a cultural practice that has evolved significantly throughout its history while remaining central to Iroquois identity. The exhibition draws on historical documentation, objects, and imagery that depict the varied uses of beadwork as ritual objects, sources of income, markers of identity, and as works of art. The content and narrative for the display was developed through a broad collaboration between curators, scholars, artists, and members of two Iroquois communities. The changing and continued importance of beadwork is reflected in the adaptation of materials and styles for different forms of production and use. Across Borders places Iroquois beadwork in a broad context while concentrating on specific forms and meanings that are attached to beadwork, whether created in community gatherings or by individual artists.     

Archéologie de l’art rupestre au Mato Grosso (Brésil) : la Chapada dos Guimarães

As part of the research program “Archaeology of rock art in Mato Grosso: the Chapada dos Guimarães National Park (Cuiabá, Brazil)” placed under the coordination of Patrick Paillet and Veronica Wesolowski, an integrated and interdisciplinary approach to the territory still largely unpublished rock art of the Chapada dos Guimarães, has been undertaken since 2020 by combining strictly archaeological research (surveys, excavations and prospecting-inventories), rock art studies (analysis and graphic, photographic and photogrammetric recording of representations) and geological analyzes and, to define and characterize the structure of its ornamented landscapes. Our program is an extension of other projects carried out from 1983 to 2013 under the direction of Agueda Vilhena-Vialou, Denis Vialou and Levy Figuti in the region of the Cidade de Pedra near Rondonópolis and at Santa Elina in the Serra das Araras (Jangada). The region of the Chapada dos Guimarães National Park (PNCG) was the subject of exploration and partial studies between 2017 and 2019 under the direction of Caroline Bachelet within the framework of the program “Prehistory and Paleoenvironments in the Pantanal region (Mato Grosso, Brazil)”. The pursuit of archaeological research in the PNCG contributes to better defining the chronology and the dynamics of occupations at local and regional scales, to characterizing chrono-culturally the settlements and their variability in the region, extending from the Rio Vermelho in the south to the Rio Cuiabá in the north, and to understand the processes of settlement and/or mobility of past populations along the firm lands and especially the hydrographic systems that border the floodplains of the Pantanal and which constitute the main routes of population movement.     

Operation Crayweed: Ecological and sociocultural aspects of restoring Sydney’s underwater forests

Operation Crayweed focuses on the restoration of underwater forests that disappeared from the coastline of Sydney, Australia’s largest city, 40 years previously. We show how a combination of science, hands‐on restoration, community engagement and art has helped the project to reach its goals as well as raise awareness about the importance of underwater kelp forests that are experiencing global decline.     

Parure,pigment et art mobilier du Paléolithique supérieur au Japon

In the Japanese Archipelago, Upper Palaeolithic Accessories, Pigment and Portable Art are discovered, but very few. We introduce the Palaeolithic Art in Japan including new discoveries. The majority of accessories is discovered in Hokkaido, for example the sites of Yunosato 4, Pirika 1, Kashiwadai1 and Obarubetsu 2, but very few in Honshu, the largest island of Japan: Togeyamabokujo 1 in Iwate and Fujiishi in Shizuoka. A lot of pigments are discovered in Hokkaido like Kawanishi C, Kashiwadai 1, Marukoyama and Kiusu 5, without those of Deguchi-Kanezuka in Chiba in Honshu. Kashiwadai 1 in Hokkaido and Kamihikikiri in Chiba are the sites with portable art. In Ehime in Shikoku, one of four large islands of Japan, engraved pebbles called “Kamikuroiwa Venus”, of the Incipient Jomon followed after the Upper Palaeolithic period, before about 14,500 years, are researched again recently. The Palaeolithic art in Japan has a strong relation with Northeast Asia's art, because the lithic materials of Palaeolithic accessories in Hokkaido came from the Continent, and the engraved pebbles have some characters common with Siberian figurines, but also there are accessories and pigment of which the stones are native of the region from the beginning of the Upper Palaeolithic period.     

Assessment in the visual arts: Challenges and possibilities

Abstract

Assessment in art is notoriously difficult and is probably best approached with skepticism. Artistry is notoriously difficult to assess. Yet measures of student learning in art are needed for both advocacy and art education policy. Assessments, particularly large-scale assessments, influence funding and educational policy at all levels. This article explores some of the challenges of assessment in the visual arts and critically examines the Advanced Placement Studio Art Portfolio to illustrate how a product-oriented assessment might influence teaching and policy.     

Introduction: International conference on forest ecosystems: Ecology,conservation and sustainable management

Abstract

A pollen diagram from a small lake, Kutulahdenlampi, in northern Finland is interpreted in terms of the development of forest vegetation during the Holocene. The abundance of each of the forest taxa is considered independently by means of pollen accumulation rates (PARs), using as the reference material, long term average pollen deposition values monitored by a network of pollen traps. Particular attention is paid to the arrival of spruce and to the species in the original forests that this newcomer replaces. A model of pollen dispersal and deposition developed by Sugita is used to estimate the area around the lake that the pollen assemblage is most clearly reflecting. This relevant source area of pollen (RSAP), for the present day situations is c. 1,500 m. Pollen loadings calculated for a simulated landscape that mimics (i) that of the present day and (ii) for the situation at 8,000 BP (as deduced from the PARs) are compared with the pollen assemblages from the diagram at those points in time, and are seen to be compatible. The advantages of combining PAR and modelling to look at the spatial scale of vegetation reconstructions are discussed.     

Mass spectrometric U-series dating of Huanglong Cave in Hubei Province,central China: Evidence for early presence of modern humans in eastern Asia

Most researchers believe that anatomically modern humans (AMH) first appeared in Africa 160-190 ka ago, and would not have reached eastern Asia until ∼50 ka ago. However, the credibility of these scenarios might have been compromised by a largely inaccurate and compressed chronological framework previously established for hominin fossils found in China. Recently there has been a growing body of evidence indicating the possible presence of AMH in eastern Asia ca. 100 ka ago or even earlier. Here we report high-precision mass spectrometric U-series dating of intercalated flowstone samples from Huanglong Cave, a recently discovered Late Pleistocene hominin site in northern Hubei Province, central China. Systematic excavations there have led to the in situ discovery of seven hominin teeth and dozens of stone and bone artifacts. The U-series dates on localized thin flowstone formations bracket the hominin specimens between 81 and 101 ka, currently the most narrow time span for all AMH beyond 45 ka in China, if the assignment of the hominin teeth to modern Homo sapiens holds. Alternatively this study provides further evidence for the early presence of an AMH morphology in China, through either independent evolution of local archaic populations or their assimilation with incoming AMH. Along with recent dating results for hominin samples from Homo erectus to AMH, a new extended and continuous timeline for Chinese hominin fossils is taking shape, which warrants a reconstruction of human evolution, especially the origins of modern humans in eastern Asia.     

Temps et réseaux de l’art paléolithique : la grotte de La Covaciella (Asturies,Espagne)

The study of graphic convergences and divergences in Palaeolithic art is used to understand the culture, territories and interaction systems of human groups. La Covaciella cave has fifteen animal representations and other linear, dots and geometric motifs. The bison stands out; some were executed with complex technical procedures. Two of them were dated by C14 AMS, obtaining a result of 14,260 ± 130 BP (17,733–16,973 cal BP) and 14,060 ± 140 BP (17,503–16,260 cal BP). These correspond chronologically with the beginning of the middle Magdalenian or the very end of the lower Magdalenian. Similar depictions to the bison at La Covaciella are located in other areas of Western Europe. The repertoire of parietal bison displaying graphic similarities with those at La Covaciella is very large; both of the Pyrenean model (Niaux morphotype) and of the Perigordian model (Font-de-Gaume morphotype). A first consideration derived from the search for comparisons involves a new interpretation of the territorial value implied by the term Pyrenean style (Asturias, Cantabria, Basque Country, Navarre, Pyrénées-Atlantiques, Hautes-Pyrénées, Haute-Garonne, Ariège, Dordogne, Lot, Ardèche and Vienne). The Font-de-Gaume parietal morphotype is most common in Dordogne. In addition, in some cases, spatial complementariness has been found, with both graphic morphotypes. This article proposes different chronological and anthropological hypothesis to explain the distribution and coexistence of the two graphic models.