September 27, 2020

Pic.Thumbs

Your life is Art

Jeffrey Gibson Kavi Gupta Gallery

Jackson Pollock, a great American painter of the 20th century, established a distinct way of painting that produced a major impact on the world of art. Further data were collected in order to determine children’s preferences for the musical selections. Children were asked to circle an icon representing whether they liked the piece, disliked the piece, or thought it was ok. Frequencies of responses were categorized by piece. Results of a two way chi square test indicate there was a significant difference among children’s preferences across pieces, Χ2 (372,10) = 54.35, p <001. the="" happy="" tonal="" piece="" received="" the="" most="" "like"="" responses,="" whereas="" the="" sad="" atonal="" piece="" was="" clearly="" the="" least="" liked="" selection.="" responses="" to="" the="" other="" four="" selections="" (sad="" tonal,="" happy="" and="" sad="" jazz="" pieces,="" and="" happy="" atonal="" piece)="" were="" more="" evenly="" distributed="" across="" preference="" categories.="" morris,="" lynda.="" strata:="" paintings,="" drawing="" and="" prints="" at="" the="" royal="" college="" of="" art="" galleries.="" exh.="" cat.="" london,="" 1974.="" also="" published="" in="" studio="" international="" (february,="" 1974):="" 92.="" nicholson,="" j.m.,="" berthelsen,="" d.,="" abad,="" v.,="" williams,="" k.,="" &="" bradley,="" j.="" (2008).="" impact="" of="" music="" therapy="" to="" promote="" positive="" parenting="" and="" child="" development.="" journal="" of="" health="" psychology,="" 13(2),="" 226-238.="" from="" the="" tate="" museum's="" website:="" abstract="" expressionism="" is="" the="" term="" applied="" to="" new="" forms="" of="" abstract="" art="" developed="" by="" american="" painters="" such="" as="" jackson="" pollock,="" mark="" rothko="" and="" willem="" de="" kooning="" in="" the="" 1940s="" and="" 1950s.="" it="" is="" often="" characterized="" by="" gestural="" brush-strokes="" or="" mark-making,="" and="" the="" impression="" of="" spontaneity.="" tsiris,="" g.,="" dives,="" t.,="" &="" prince,="" g.="" (2014).="" music="" therapy:="" evaluation="" of="" staff="" perceptions="" at="" st="" christopher's="" hospice. european="" journal="" of="" palliative="" care,="" 21(2),="" 72-75.="" some="" regions="" have="" elected="" to="" use="" only="" natural="" ochre="" pigment="" paints="" while="" others="" have="" chosen="" to="" use="" acrylic="" paints="" within="" a="" certain="" preferred="" tonal="" range.="" many="" of="" the="" artists="" do="" their="" painting="" in="" shared="" working="" areas,="" so="" ideas="" and="" techniques="" are="" readily="" observed="" and="" shared="" across="" generations="" within="" families.="" you="" want="" to="" make="" it="" fun.="" you="" want="" to="" make="" it="" memorable.="" you="" want="" to="" make="" it="" crazy.="" face="" painting="" la="" brings="" interactive="" entertainment="" to="" your="" birthday="" party.="" we="" have="" the="" skill="" to="" paint="" any="" theme,="" and="" we="" are="" well="" accustomed="" to="" high-profile="" clientele.="" in="" the="" last="" few="" decades,="" the="" rapid="" development="" of="" electronic="" music="" technologies="" has="" changed="" the="" way="" society="" interacts="" with="" music,="" which="" in="" turn="" impacts="" the="" profession="" of="" music="" therapy.="" though="" a="" few="" instances="" can="" be="" found,="" music="" therapy="" has="" not="" extensively="" explored="" the="" integration="" of="" new="" technology="" into="" clinical="" practice.="" however,="" current="" research="" trends="" show="" a="" willingness="" and="" excitement="" to="" explore="" the="" possibilities="" (nagler,="" 2011;="" ramsey,="" 2011;="" magee="" et="" al.,="" 2011;="" magee="" &="" burland,="" 2008;="" magee="" 2006).="" the="" project="" described="" in="" this="" paper="" intends="" to="" demonstrate="" one="" of="" these="" possibilities="" by="" combining="" modern="" technologies="" to="" create="" an="" interactive="" musical="" system="" with="" practical="" applications="" in="" music="" therapy.="" in="" addition="" to="" designing="" a="" practical="" tool,="" the="" project="" aims="" to="" question="" the="" role="" of="" technology="" in="" music="" therapy="" and="" to="" provoke="" discussion="" on="" the="" scope="" of="" the="" definition="" of="" technology="" in="" music="" therapy.="" the="" feminist="" movement="" flexed="" its="" muscles="" but="" it="" embraced="" neel="" as="" a="" personality="" and="" as="" a="" forerunner.="" feminist="" artists="" tended="" to="" work="" in="" other="" idioms:="" performance,="" photography,="" video="" and="" conceptually="" based="" practices.="" geske,="" norman="" a.,="" and="" karen="" janovy. the="" american="" painting="" collection="" of="" the="" sheldon="" memorial="" art="" gallery.="" entry="" hans="" hofmann”="" by="" norman="" a.="" geske,="" p.="" 88.="" lincoln:="" university="" of="" nebraska="" press,="" 1988.="" the="" cerebellum="" is="" located="" at="" the="" back="" of="" the="" head,="" below="" the="" cerebrum.="" the="" cerebellum="" helps="" to="" create="" smooth,="" flowing="" and="" integrated="" movements="" when="" hearing="" or="" playing="" music.="" it="" works="" in="" harmony="" with="" other="" parts="" of="" the="" brain="" to="" affect="" rhythmic="" movement="" in="" the="" body="" when="" moving="" in="" response="" to="" the="" music.="" the="" cerebellum="" allows="" a="" performer="" to="" move="" the="" body="" in="" accordance="" to="" reading="" or="" visualizing="" music="" when="" playing="" a="" musical="" instrument.="" hofmann="" went="" home="" for="" a visit="" in="" 1914.="" when="" world="" war="" i prevented="" his="" return="" to="" paris,="" he="" opened="" his="" school="" for="" modern="" art="" in="" a munich="" suburb.="" during="" the="" war="" years,="" hofmann="" became="" closely="" acquainted="" with="" kandinsky's="" work.(4)="" following="" the="" war,="" young="" americans="" began="" to="" flock="" to="" hofmann's="" school.="" carl="" holty,="" worth="" ryder,="" glenn="" wessels,="" vaclav="" vytlacil,="" and="" others="" studied="" in="" munich="" or="" attended="" his="" summer="" classes="" in="" bavaria,="" france,="" and="" italy.(5)="" in="" the="" summer="" of="" 1930,="" at="" the="" invitation="" of="" worth="" ryder,="" hofmann="" taught="" at="" the="" university="" of="" california,="" berkeley.="" he="" spent="" the="" next="" winter="" in="" germany,="" and="" the="" following="" spring="" returned="" to="" teach="" in="" los="" angeles="" (at="" the="" chouinard="" school="" of="" art)="" and="" at="" berkeley,="" where="" he="" wrote="" the="" first="" version="" of="" creation="" in="" form="" and="" color:="" a textbook="" for="" instruction="" in="" art.="" in="" 1932,="" he="" moved="" to="" new="" york.="" he="" taught="" for="" a year="" at="" the="" art="" students="" league,="" where="" his="" students="" included="" burgoyne="" diller,="" harry="" holtzman,="" and="" george="" mcneil.="" the="" following="" year="" he="" opened="" his="" new="" york="" school,="" and="" in="" the="" summer="" of="" 1935="" began="" annual="" summer="" sessions="" in="" provincetown,="" massachusetts.="" in="" 1958,="" at="" age="" seventy="" eight,="" hofmann="" finally="" gave="" up="" teaching="" to="" concentrate="" full="" time="" on="" painting.="" rose,="" barbara.="" ellsworth="" kelly:="" the="" focused="" vision.”="" ellsworth="" kelly:="" paintings="" and="" sculptures,="" 1963-1979.="" exh.="" cat.="" amsterdam:="" stedelijk="" museum,="" 1979:="" 1-24.="" the="" text="" is="" also="" published="" in="" german="" in="" the="" catalogue="" of="" the="" baden-baden="" venue="" of="" this="" exhibition,="" and="" in="" french="" in="" the="" catalogue="" of="" the="" paris="" venue.="" working="" primarily="" with="" videos="" and="" the="" installation="" form,="" paul="" says="" her="" work="" usually="" deals="" with="" philosophical="" questions="" that="" surround="" the="" concept="" of="" non-fiction.="" in="" other="" words,="" it="" is="" the="" theatre="" of="" factuality="" or="" the="" fact="" itself="" that="" i="" am="" interested="" in="" as="" an="" observer="" as="" well="" as="" an="" artist,"="" she="" says,="" adding="" that="" these="" regimes="" of="" fact="" or="" truth="" production="" offer="" insights="" into="" how="" time="" is="" structured="" and="" how="" things="" are="" remembered="" and="" archived.="" kostka,="" m.="" (1993).="" a="" comparison="" of="" selected="" behaviors="" of="" a="" student="" with="" autism="" in="" special="" education="" and="" regular="" music="" classes. music="" therapy="" perspectives,="" 11(57-60).="" american="" painting="" in="" the="" 1950s="" and="" 1960s.="" exh.="" cat.="" shiga:="" the="" museum="" of="" modern="" art,="" 1989.="" in="" everyday="" life="" humans="" regularly="" seek="" participation="" in="" highly="" complex="" and="" pleasurable="" experiences="" such="" as="" music="" listening,="" singing,="" or="" playing,="" that="" do="" not="" seem="" to="" have="" any="" specific="" survival="" advantage.="" the="" question="" addressed="" here="" is="" to="" what="" extent="" dopaminergic="" transmission="" plays="" a="" direct="" role="" in="" the="" reward="" experience="" (both="" motivational="" and="" hedonic)="" induced="" by="" music.="" authors="" report="" that="" pharmacological="" manipulation="" of="" dopamine="" modulates="" musical="" responses="" in="" both="" positive="" and="" negative="" directions,="" thus="" showing="" that="" dopamine="" causally="" mediates="" musical="" reward="" experience.="" donohoe,="" victoria.="" a="" refreshing="" format="" for="" a="" summer="" display”="" (cava="" gallery="" exhibition="" review).="" the="" philadelphia="" inquirer,="" 11="" july="" 1986:="" illustrated.="" we="" had="" a="" fabulous="" time.="" the="" kids="" and="" adults="" thought="" you="" two="" were="" terrific.="" you="" are="" very="" sweet="" and="" your="" tattoos="" were="" appropriate="" for="" their="" age.="" thanks="" again="" for="" being="" apart="" of="" our="" event.="" humans="" have="" used="" music="" throughout="" history="" and="" across="" diverse="" cultures="" as="" an="" environmental="" modifier="" to="" change="" the="" way="" their="" bodies="" move="" and="" feel="" (schneck="" &="" berger,="" 2006).="" with="" recent="" advances="" in="" technology,="" people="" of="" all="" ages="" appropriate="" music="" with="" affordances="" such="" as="" vigor,="" mastery,="" and="" tranquility,="" so="" they="" can="" regulate="" their="" energy="" levels="" for="" everyday="" purposes="" (for="" example,="" exercise="" or="" relaxation)="" (denora,="" 2000).="" active="" music-making="" opportunities="" including="" choirs="" and="" drumming="" circles="" are="" also="" becoming="" increasingly="" popular="" as="" a="" means="" of="" supporting="" physical="" and="" emotional="" health="" (clift,="" 2012;="" davidson="" &="" emberly,="" 2012).="" garry="" spends="" much="" of="" his="" time="" painting="" the="" highlands="" and="" islands="" of="" scotland,="" particularly="" the="" island="" of="" tiree,="" where="" his="" family="" has="" lived="" and="" worked="" the="" old="" watermill="" and="" surrounding="" crofts="" for="" over="" 500="" years.="" his="" love="" of="" the="" west="" coast="" has="" inspired="" his="" paintings="" and="" living="" on="" the="" islands,="" learning="" about="" remoteness,="" isolation="" and="" the="" beauty="" of="" the="" beaches="" and="" landscapes,="" has="" forged="" the="" artist="" he="" has="" become.="" his="" upbeat="" and="" vibrant="" modern="" palette="" raises="" the="" viewer's="" level="" of="" emotional="" engagement="" with="" his="" paintings="" and="" reminds="" them="" that="" scotland="" is="" one="" of="" the="" most="" beautiful="" places="" on="" earth.="" the="" use="" of="" music="" as="" a="" coping="" strategy="" also="" has="" applications="" in="" the="" medical="" field.="" for="" example,="" patients="" who="" listen="" to="" music="" during="" surgery="" or="" post-operative="" recovery="" have="" been="" shown="" to="" have="" less="" stress="" than="" their="" counterparts="" who="" do="" not="" listen="" to="" music.="" studies="" have="" shown="" that="" the="" family="" members="" and="" parents="" of="" the="" patient="" had="" reduced="" stress="" levels="" when="" listening="" to="" music="" while="" waiting,="" and="" can="" even="" reduce="" their="" anxiety="" for="" the="" surgery="" results.="" the="" use="" of="" music="" has="" also="" been="" proven="" effective="" in="" pediatric="" oncology.="" music="" therapy="" is="" mainly="" used="" in="" these="" cases="" as="" a="" diversion="" technique,="" play="" therapy,="" designed="" to="" distract="" the="" patient="" from="" the="" pain="" or="" stress="" experienced="" during="" these="" operations.="" the="" focus="" of="" the="" patient="" is="" directed="" at="" a="" more="" pleasurable="" activity="" and="" the="" mind="" shifts="" toward="" that="" activity="" creating="" a="" numbing”="" effect="" founded="" on="" an="" out="" of="" sight,="" out="" of="" mind”="" type="" approach.="" this="" can="" even="" transcend="" to="" elderly="" patients="" in="" nursing="" homes="" and="" adult="" day="" care="" centers.="" music="" therapy="" in="" these="" places="" have="" shown="" reductions="" in="" elder="" aggression="" and="" agitated="" moods.="" however,="" because="" several="" of="" these="" studies="" rely="" mainly="" on="" patient="" responses,="" some="" concerns="" have="" been="" raised="" as="" to="" the="" strength="" of="" the="" correlation="" between="" music="" and="" stress="">