Ultrasound-Stimulated PVA Microbubbles as a Green and Handy Tool for the Cleaning of Cellulose-Based Materials

One of the main issues in the cultural heritage field of restoration chemistry is the identification of greener and more effective methods for the wet cleaning of paper artefacts, which serve as witnesses to human history and custodians of cultural values. In this context, we propose a biocompatible method to perform wet cleaning on paper based on the use of 1 MHz ultrasound in combination with water-dispersed polyvinyl alcohol microbubbles (PVAMBs), followed by dabbing with PVA-based hydrogel. This method can be applied to both old and new papers. FTIR spectroscopy, X-ray diffraction, HPLC analysis, pH measurements and tensile tests were performed on paper samples, to assess the efficacy of the cleaning system. According to the results, ultrasound-activated PVAMB application allows for an efficient interaction with rough and porous cellulose paper profiles, promoting the removal of cellulose degradation byproducts, while the following hydrogel dabbing treatment guarantees the removal of cleaning materials residues. Moreover, the results also pointed out that after the treatment no thermal or mechanical damages had affected the paper. In conclusion, the readability of these kinds of artifacts can be improved without causing an alteration of their structural properties, while mitigating the risk of ink diffusion.

Proposals Generation for Weakly Supervised Object Detection in Artwork Images

Object Detection requires many precise annotations, which are available for natural images but not for many non-natural data sets such as artworks data sets. A solution is using Weakly Supervised Object Detection (WSOD) techniques that learn accurate object localization from image-level labels. Studies have demonstrated that state-of-the-art end-to-end architectures may not be suitable for domains in which images or classes sensibly differ from those used to pre-train networks. This paper presents a novel two-stage Weakly Supervised Object Detection approach for obtaining accurate bounding boxes on non-natural data sets. The proposed method exploits existing classification knowledge to generate pseudo-ground truth bounding boxes from Class Activation Maps (CAMs). The automatically generated annotations are used to train a robust Faster R-CNN object detector. Quantitative and qualitative analysis shows that bounding boxes generated from CAMs can compensate for the lack of manually annotated ground truth (GT) and that an object detector, trained with such pseudo-GT, surpasses end-to-end WSOD state-of-the-art methods on ArtDL 2.0 (≈41.5% mAP) and IconArt (≈17% mAP), two artworks data sets. The proposed solution is a step towards the computer-aided study of non-natural images and opens the way to more advanced tasks, e.g., automatic artwork image captioning for digital archive applications.

The Experience of Living with Severe Asthma, Depression and Anxiety: A Qualitative Art-Based Study

Purpose

Severe asthma, depression and anxiety often co-exist and increase disease burden. Currently there are no published studies investigating severe asthma and psychological comorbidity using arts-based methodology. We aimed to (i) illustrate the individual experience of adults living with severe asthma, with and without symptoms of depression and/or anxiety and (ii) to explore common characteristics depicted in artworks between those groups.

Patients and Methods

A qualitative arts-based study was conducted. Adults with severe asthma were categorised into two groups according to Hospital Anxiety and Depression Scale scores (<8 on either subscale [SA-D/A] (N=15) or (≥8 on one or both subscales [SA+D/A] (N=15). Art thematic analysis was undertaken using a hybrid approach. The Common-Sense Model of Self-Regulation was used to examine frequencies in artworks.

Results

Participants with severe asthma alone and severe asthma with depression/anxiety were of older age (median 67 and 63 years respectively). There was greater asthma QoL impairment in participants with psychological comorbidity than without (4.7 ± 8.3 versus 5.8 ± 0.85, p=<0.01). Analysis of art works identified three themes: (1) “darkness” depicting misery, isolation and sadness; (2) “impacts” describing physical and social consequences; and (3) “resilience” illustrating acceptance and perseverance of living with all three conditions.

Conclusion

Art-based research in severe asthma facilitates detailed exploration of intimate and individual experiences. Darkness, impacts and resilience are common themes emerging from artworks. Understanding these experiences may help guide assessment and treatment of psychological comorbidity in the clinic.

Steady-state visual evoked potential responses predict visual discomfort judgements

It has been suggested that aesthetically pleasing stimuli are processed efficiently by the visual system, whereas uncomfortable stimuli are processed inefficiently. This study consists of a series of three experiments investigating this idea using a range of images of abstract artworks, photographs of natural scenes, and computer-generated stimuli previously shown to be uncomfortable. Subjective judgements and neural correlates were measured using electroencephalogram (EEG) (steady-state visual evoked potentials, SSVEPs). In addition, global image statistics (contrast, Fourier amplitude spectral slope and fractal dimension) were taken into account. When effects of physical image contrast were controlled, fractal dimension predicted discomfort judgements, suggesting the SSVEP response is more likely to be influenced by distribution of edges than the spectral slope. Importantly, when effects of physical contrast and fractal dimension were accounted for using linear mixed effects modelling, SSVEP responses predicted subjective judgements of images. Specifically, when stimuli were not matched for perceived contrast, there was a positive relationship between SSVEP responses and how pleasing a stimulus was judged to be, and conversely a negative relationship between discomfort and SSVEP response. This is significant as it shows that the neural responses in early visual areas contribute to the subjective (un)pleasantness of images, although the results of this study do not provide clear support for the theory of efficient coding as the cause of perceived pleasantness or discomfort of images, and so other explanations need to be considered.

Appreciation of Art as a Perception Sui Generis: Introducing Richir's Concept of "Perceptive" Phantasia

In the Origin of the work of art, Heidegger claimed that the work of art opens to us the truth of Being, the opening of the world. Two problematics arise from this. First, his idea of “world-disclosure” evoked a sense of everydayness (which captures, for me, the idea of credulism in perception). Second, the senses of truth, Being, and world are metaphysically condensed. Hence the question: how then could the “truth of Being” or the “world” that artworks reveal be experienced? Among other ways (mimesis, imagination, perception, etc.) by which artworks are experienced, I choose to examine perception since it confirms this idea of everydayness. The questions that confront us to this effect are: can perception lead us into, to encounter, this world opened by artworks? Does the nervous/visual system suffice to enter into that world in which the artist invites us? This is where Richir becomes important. In response to the first problem, he shows that the “perception” (experience) of artworks is beyond mere everydayness since artworks open for us a world that “never was” and “never will be” (i.e., “virtuality” and not a veridical sense of everydayness as captured in the perceptive act that is object-related). This is because the material stuff or object given in perception is neutralized by the phantasia to become what Richir calls Sache. This Sache is in itself a phenomenon that is disclosed in artworks. In response to the second problem, Richir shows how artworks cannot disclose just metaphysical categories of Being, truth, or world. The disclosure has to be phenomenological, corporeal, and affective. He therefore proposes another mode of “perception” beyond mere perception in a revolutionary interpretation of the husserlian “perceptive” phantasia. With this, he shows how the aforementioned metaphysical condensations are liveable in experience. I concretize this with an illustration from the theater. Finally, I suggest participation as a phenomenological approach that can make both Heidegger’s and Richir’s intuitions meaningful.

Biocleaning on Cultural Heritage: new frontiers of microbial biotechnologies

Over the last two decades, the biotechnologies applied to Cultural heritage (CH) have become a successful novel alternative to the traditional approaches in the CH conservation and preservation. From these new perspectives, microorganisms and their metabolisms can be used for the safeguarding of artworks. Biocleaning is a field with a growing interest, based on eco-friendly processes and safe procedures, where biological reactions occurring in natural habitats are optimized in artificial conditions with the aim of CH conservation. This represents a new tool and opportunity for the development and improvement of the sector, with a great advantage for the CH conservation-restoration, in terms of safety, effectiveness, costs and environmental sustainability. This review focuses on the use of microbes and enzymes involved in biocleaning of CH artworks. The aim is to provide a comprehensive, critical and chronological view of the scientific works published until now where 'virtuous' microorganisms are applied on different CH materials, pointing out strength and drawback of the biocleaning treatments.

Co-creative Affordance: Rethinking "Beyond Loss" in Dementia through Co-dwelling

Based on a decade of voluntary work and a year of intensive ethnographic fieldwork in an orthodox Jewish care home in London, I demonstrate the ways in which an individual's loss of cognition, language and memory is challenged, rethought and facilitated in everyday life. Drawing on Ingold's idea of dwelling, I examine how loss is constantly negotiated and distributed in ways of becoming that are radically contingent, profoundly relational and potentially generative during an art activity in the context of co-dwelling. I refer to this as dementia-becoming. I suggest a more inclusive understanding of loss as a way of life, constitutive of life, and appreciated as a potential co-creative affordance.

Recent Advances on the Analysis of Polychrome Works of Art: SERS of Synthetic Colorants and Their Mixtures With Natural Dyes

The development and application of proper sample pretreatments is often a key step toward the successful analysis of dyes used as artists' materials by surface-enhanced Raman spectroscopy (SERS). Complexation of the organic colorants with metal ions to dye fabrics and produce lake pigments, as well as undesired interactions with other matrix components such as substrate, binding media, fillers, and extenders, are just some of the issues that typically complicate dye identification in minute samples from invaluable artworks and museum objects. These concerns may be addressed by using, prior to SERS analysis, ad-hoc sample pretreatments that, in addition to increasing the technique's sensitivity, favorably affect its selectivity toward certain molecules or molecular classes. The present work describes a newly developed sample pretreatment based on the use of nitric acid that has proven crucial for the successful detection of aniline and xanthene dyes–the first synthetic organic colorants to be used in printing and painting, among other art forms–in microscopic samples from works of art such as a 19th-century silk fabric, paper cut-outs by Henri Matisse, Vincent Van Gogh's Irises, and Japanese woodblock prints. This treatment promotes the hydrolysis of the dye-metal bond in mordant dyes or lake pigments, resulting in a more efficient adsorption of the dye molecules on the SERS-active substrate and, hence, enabling the acquisition of high-quality spectra. In the case of synthetic colorants, this method shows advantages over hydrolysis with hydrofluoric acid–a procedure previously established for the analysis of red lakes prepared from natural dyes. The nitric acid treatment presented here may be integrated into a multi-step methodology that, by exploiting differences in solubility of various dyes and lake pigments, has enabled for the first time to successfully characterize intentional mixtures of natural and synthetic colorants of the xanthene and anthraquinone molecular classes, i.e., eosin Y and carmine, in a selection of Japanese prints of the Meiji era. The present study paves the way for the systematic identification of synthetic dyes in objects of artistic and archeological interest, even when they are present in mixtures with natural organic colorants.

Role of the Relative Humidity and the Cd/Zn Stoichiometry in the Photooxidation Process of Cadmium Yellows (CdS/Cd1-x Znx S) in Oil Paintings

Cadmium yellows (CdYs) refer to a family of cadmium sulfide pigments, which have been widely used by artists since the late 19th century. Despite being considered stable, they are suffering from discoloration in iconic paintings, such as Joy of Life by Matisse, Flowers in a blue vase by Van Gogh, and The Scream by Munch, most likely due to the formation of CdSO₄ ⋅n H₂ O. The driving factors of the CdYs degradation and how these affect the overall process are still unknown. Here, we study a series of oil mock-up paints made of CdYs of different stoichiometry (CdS/Cd_0.76 Zn_0.24 S) and crystalline structure (hexagonal/cubic) before and after aging at variable relative humidity under exposure to light and in darkness. Synchrotron radiation-based X-ray methods combined with UV-Vis and FTIR spectroscopy show that: 1) Cd_0.76 Zn_0.24 S is more susceptible to photooxidation than CdS; both compounds can act as photocatalysts for the oil oxidation. 2) The photooxidation of CdS/Cd_0.76 Zn_0.24 S to CdSO₄ ⋅n H₂ O is triggered by moisture. 3) The nature of alteration products depends on the aging conditions and the Cd/Zn stoichiometry. Based on our findings, we propose a scheme for the mechanism of the photocorrosion process and the photocatalytic activity of CdY pigments in the oil binder. Overall, our results form a reliable basis for understanding the degradation of CdS-based paints in artworks and contribute towards developing better ways of preserving them for future generations.

Reliable Top-Left Light Convention Starts With Early Renaissance: An Extensive Approach Comprising 10k Artworks

Art history claims that Western art shows light from the top left, which has been repeatedly shown with narrow image sets and simplistic research methods. Here we employed a set of 10,000 pictures for which participants estimated the direction of light plus their confidence of estimation. From 1420 A.D., the onset of Early Renaissance, until 1900 A.D., we revealed a clear preference for painting light from the top left—within the same period, we observed the highest confidence in such estimations of the light source.

Art Perception in the Museum: How We Spend Time and Space in Art Exhibitions

Aesthetics research aiming at understanding art experience is an emerging field; however, most research is conducted in labs without access to real artworks, without the social context of a museum and without the presence of other persons. The present article replicates and complements key findings of art perception in museum contexts. When observing museum visitors (N = 225; 126 female, M(age) = 43.3 years) while perceiving a series of six Gerhard Richter paintings of various sizes (0.26–3.20 sq. m) in a temporary art exhibition in January and February 2015 showing 28 paintings in total, we revealed patterns compatible to previous research. The mean time taken in viewing artworks was much longer than was mostly realized in lab contexts, here 32.9 s (Mdn = 25.4 s). We were also able to replicate visitors spending more time on viewing artworks when attending in groups of people. Additionally, we uncovered a close positive relationship (r²= .929) between canvas size and viewing distance, ranging on average between 1.49 and 2.12 m (M = 1.72 m). We also found that more than half of the visitors returned to paintings, especially those people who had not previously paid too much attention at the initial viewing. After adding the times of returning viewers, each picture was viewed longer than had been estimated in previous research (M = 50.5 s, Mdn = 43.0 s). Results are discussed in the context of current art perception theories, focusing on the need for the ecologically valid testing of artworks in aesthetics research.

How Children's Mentalistic Theory Widens their Conception of Pictorial Possibilities

An interpretative theory of mind enables young children to grasp that people fulfill varying intentions when making pictures. We tested the hypothesis that in middle childhood a unifunctional conception of artists’ intention to produce a picture widens to include artists’ intention to display their pictures to others. Children aged between 5 and 10 years viewed a brief video of an artist deliberately hiding her picture but her intention was thwarted when her picture was discovered and displayed. By 8 years of age children were almost unanimous that a picture-producer without an intention to show her work to others cannot be considered to be an artist. Further exploratory studies centered on aspects of picture-display involving normal public display as well as the contrary intentions of hiding an original picture and of deceitfully displaying a forgery. Interviews suggested that the concept of exhibition widened to take others’ minds into account viewers’ critical judgments and effects of forgeries on viewers’ minds. The approach of interpolating probes of typical possibilities between atypical intentions generated evidence that in middle childhood the foundations are laid for a conception of communication between artists’ minds and viewers’ minds via pictorial display. The combination of hypothesis-testing and exploratory opening-up of the area generates a new testable hypothesis about how an increasingly mentalistic approach enables children to understand diverse possibilities in the pictorial domain.

Titles change the esthetic appreciations of paintings

Esthetic experiences of artworks are influenced by contextualizing information such as titles. However, how titles contribute to positive esthetic experiences is still an open issue. Considering that fluency, as well as effortful elaborate processing, potentially influence esthetic experiences, we tested how three different title types-semantically matching (fluent), semantically non-matching (non-fluent), and an "untitled" condition (control)-affected experiences of abstract, semi-abstract, and representational art. While participants viewed title/artwork combinations we assessed facial electromygraphic (fEMG) recordings over M. corrugator supercilii and M. zygomaticus major muscle to capture subtle changes in emotional and cognitive processing, and asked for subjective liking and interest. Matching titles, but also the more effortful untitled condition, produced higher liking compared to non-fluently processed, non-matching titles especially in abstract art. These results were reflected in fEMG with stronger M. corrugator activations in the non-matching condition followed by the untitled condition. This implies high cognitive effort as well as negative emotions. Only in the matching condition, M. zygomaticus was more strongly activated indicating positive emotions due to fluency. Interest, however, was hardly affected. These results show that high levels of dis-fluency and cognitive effort reduce liking. However, fluency as well as moderate levels of effort contribute to more positive esthetic experiences.

Examining cultural drifts in artworks through history and development: cultural comparisons between Japanese and western landscape paintings and drawings

Research on cultural products suggest that there are substantial cultural variations between East Asian and European landscape masterpieces and contemporary members' landscape artwork (Masuda et al., 2008c), and that these cultural differences in drawing styles emerge around the age of 8 (Senzaki et al., 2014b). However, culture is not static. To explore the dynamics of historical and ontogenetic influence on artistic expressions, we examined (1) 17-20th century Japanese and Western landscape masterpieces, and (2) cross-sectional adolescent data in landscape artworks alongside previous findings of elementary school-aged children, and undergraduates. The results showed cultural variations in artworks and masterpieces as well as substantial "cultural drifts" (Herskovits, 1948) where at certain time periods in history and in development, people's expressions deviated from culturally default patterns but occasionally returned to its previous state. The bidirectional influence of culture and implications for furthering the discipline of cultural psychology will be discussed.

Photochemical degradation study of polyvinyl acetate paints used in artworks by Py-GC/MS

Photochemical degradation of commercial polyvinyl acetate (PVAc) homopolymer and PVAc paints mixed with burnt umber, cobalt blue, cadmium red dark, nickel azo yellow and titanium white commonly used for artworks were studied by pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) and Fourier transform infrared spectroscopy-attenuated total reflectance (FTIR-ATR). Py-GC/MS with single-shot technique was used for the characterization of the thermal degradation of PVAc at different temperatures, while the double-shot technique of Py-GC/MS was used to reveal the differences in the specimens before and after UV ageing, including the changes of detectable amounts of deacetylation product - acetic acid and plasticizers such as diethyl phthalate (DEP). Furthermore, the relative concentration of the pyrolysis products of the paint samples could be measured and compared in the second step of the double-shot Py-GC/MS, which are highly dependent on the presence of pigments and the ageing status of PVAc paints.