The Institute For Figuring // Exhibition:INVENTING KINDERGARTEN. Of the forces that supposedly brought modern art into being, a wide range of factors have been cited - industrialization, the “machine age,” and psychosexual emancipation. Though kindergarten has never been “fodder for argument over absinthe and Gauloises in Montmartre cafes,” Bosterman suggests that its influence on modern art “has been largely ignored because its participants were in the primary band of the scholastic spectrum.”
To which we may add that the gender of its practitioners was overwhelmingly female. In the standard narratives of art-historical criticism, women are not only absent from the canon of modern masters, but female activities, interests and occupations have been cast as mostly irrelevant to the movement itself. This exhibition challenges that view, locating women and children at the origin of this aesthetic upheaval.
Why fiction is good for you - Ideas. The Parallel Film: Herzog’s “Cave of Forgotten Dreams” Cave of Forgotten Dreams is the latest film from German director Werner Herzog. The film premiered in New York City on October 2nd at The New Yorker Festival. Director Werner Herzog (left) inside the Chauvet cave. When Werner Herzog was granted access to film in the very secretive Chauvet cave in France—sealed for 30,000 years with pristinely preserved Paleolithic wall paintings, and discovered in 1994—he at first resisted his producer’s suggestion that he document it in 3D. “I have seen Avatar,” Herzog said, much to the delight of the crowd gathered for the Q&A following the New York premiere of his new film, Cave of Forgotten Dreams, last Saturday evening at The New Yorker Festival.
“Everything you see in the film [Avatar] is completely articulate in three dimensions. And a wise choice it was. Despite his skepticism of 3D filmmaking, Herzog somehow still allows us space to contemplate and “complete” the film within us while we watch these images through our silly 3D glasses. The logic of failure: recognizing ... Does Your Language Shape How You Think? When these peculiarities of Guugu Yimithirr were uncovered, they inspired a large-scale research project into the language of space. And as it happens, Guugu Yimithirr is not a freak occurrence; languages that rely primarily on geographical coordinates are scattered around the world, from Polynesia to Mexico, from Namibia to Bali.
For us, it might seem the height of absurdity for a dance teacher to say, “Now raise your north hand and move your south leg eastward.” But the joke would be lost on some: the Canadian-American musicologist Colin McPhee, who spent several years on Bali in the 1930s, recalls a young boy who showed great talent for dancing. As there was no instructor in the child’s village, McPhee arranged for him to stay with a teacher in a different village. But when he came to check on the boy’s progress after a few days, he found the boy dejected and the teacher exasperated. So different languages certainly make us speak about space in very different ways. Words as Hidden Inferences. Followup to: The Parable of Hemlock Suppose I find a barrel, sealed at the top, but with a hole large enough for a hand.
I reach in, and feel a small, curved object. I pull the object out, and it's blue—a bluish egg. Next I reach in and feel something hard and flat, with edges—which, when I extract it, proves to be a red cube. I pull out 11 eggs and 8 cubes, and every egg is blue, and every cube is red. Now I reach in and I feel another egg-shaped object. Before I pull it out and look, I have to guess: What will it look like? The evidence doesn't prove that every egg in the barrel is blue, and every cube is red. So I say "blue", with a dutiful patina of humility. But when a large yellow striped feline-shaped object leaps out at me from the shadows, I think, "Yikes! The human brain, for some odd reason, seems to have been adapted to make this inference quickly, automatically, and without keeping explicit track of its assumptions.
Part of the sequence A Human's Guide to Words. Elizabeth Gilbert on nurturing creativity. Art Students' Mental Health: A Complicated Picture - Arts & Academe. By Daniel Grant Art institutes, like all colleges, strive to put their best foot forward when appealing to prospective students and their parents: These are our art studios; this is our distinguished faculty; have a look at our art library. However, considering how many students avail themselves of mental-health therapy in the course of a given year—10 percent of the student body at the Rhode Island School of Design, 25 percent at the Maryland Institute College of Art, 30 percent at the Savannah College of Art and Design—perhaps the college’s counseling center should be a stop on the tour.
All college students face stress, but mental-health professionals say art students face particular, and particularly intense, kinds of stress that their peers in many other scholastic situations don’t. And while crises may spur some art students to seek help, others incorporate therapeutic resources as part of their overall development. “You need other outlets, like athletics. Return to Top. Separate truths.