Phillips Academy

Photography is used by amateurs to preserve memories of favorite times, to capture special moments, to tell stories, to send messages, and as a source of entertainment. Just as developing conceptions of ancestry provide important background for understanding the monastic programs, the development for the elite of architectural forms that accommodated ritual household devotion and … Continue reading “Phillips Academy”

Photography is used by amateurs to preserve memories of favorite times, to capture special moments, to tell stories, to send messages, and as a source of entertainment. Just as developing conceptions of ancestry provide important background for understanding the monastic programs, the development for the elite of architectural forms that accommodated ritual household devotion and decoration that depicted (actual and ideal) ancestors also enhances our understanding of the setting of the later programs. In early imperial elite houses, the tablinum, typically located on the side of the atrium facing the entrance, was a focal point of the household as the office, reception room, and location of a household shrine. The nexus of atrium and tablinum was where current household business and family history were concentrated: ancestor portraits were kept in this area, where they oversaw family celebrations and rites of passage, and inspired the young to emulate them; and this was where important household documents were kept and where the dominus met his clients during the morning reception, the salutatio. In addition, this area linked the household to the business and governance of the wider civic community; later in the day, for example, the householder and his entourage made their way to the forum from here. Private funeral rites were also performed in this location, from which the household processed to public commemoration, in the forum for those of the highest social stations, a tradition extending from the late Republican period well into late antiquity.H. I. Flower, Ancestor Masks and Aristocratic Power in Roman Culture (Oxford, 1996), 91-126. I. Östenberg, Power Walks: Aristocratic Escorted Movements in Republican Rome,” in The Moving City: Processions, Passages and Promenades in Ancient Rome, ed. I. Östenberg, S. Malmberg, and J. Bjørnebye (London, 2015), 245, goes so far as to say that the funeral procession could be interpreted as the aristocrat’s final salutatio and last deductio procession, now accompanied by lament and a retinue dressed in black.” Here, more than any other location within the house, domestic life was inextricable from public life.K. Bowes, Christianization and the Rural Home,” JEChrSt 15, no. 2 (2007): 144, briefly mentions the example of Ausonius in the transformation of the traditional domestic rituals of (private) morning prayers and the (quite public) salutatio for the Christian aristocratic elite of fourth-century Gaul. D. Frankfurter, The Interpenetration of Ritual Spaces in Late Antique Religions: An Overview,” Archiv für Religionsgeschichte 10 (2008): 199, writes of the importance of religion in domestic space for understanding the complex interpenetration of institutional ideology and domestic sphere,” discussing domestic rituals performed at the household hearth or threshold in Egypt and across the wider world of late antiquity.

Exploring Ando’s Space: Art and the Spiritual. Exh. cat. The Pulitzer Foundation for the Arts: Michael Thede Design, 2004. Metropolitan Museum of Art, New York. New York Painting and Sculpture: 1940 – 1970. 18 October 1969 – 8 February 1970. Catalogue with reprinted or revised texts by Michael Fried et al. Yang, C.Y., Chen, C.H., Chu, H., Chen, W.C., Lee, T.Y., Chen, S.G., & Chou, K.R. (2012). The effect of music therapy on hospitalized psychiatric patients’ anxiety, finger temperature, and electroencephalography a randomized clinical trial. Biological Research for Nursing, 14(2), 197-206. DC Moore Gallery is pleased to present Abstract Romare Bearden, featuring rarely-seen stain and collaged paintings from 1958-1962 by one of the most renowned visual artists of the 20th century. Also on view, will be selected works from earlier and later periods. The abstract paintings shed light on Bearden’s continual interest in experimental techniques. They also provide new context to the influence his earlier work had on this period, and how these seminal paintings contributed to the development of his later well-known collages. Ridder, H.R., & Wheeler, B.L. (2015). Music Therapy for Older Adults. In B. L. Wheeler (Ed.), Music Therapy Handbook (pp. 367-378). New York; London: Guilford Publications. Loewy, J., Stewart, K., Dassler, A.M., Telsey, A., & Homel, P. (2013). The effects of music therapy on vital signs, feeding, and sleep in premature infants. Pediatrics, 131(5), 902-918. Musical therapy also has been proven to help patients build motivation for getting more involved in all aspects of their treatment. Most patients find it easy to become engaged in music therapy. That engagement tends to translate into more cooperation with their overall treatment for whatever condition or illness they have. Trevarthen, C., Aitken, K. J., Papoudi, D., & Robarts, J. Z. (1996). Children with Autism: Diagnosis and Interventions to Meet Their Needs. London: Jessica Kingsley. Picture Plane: The flat surface on which the artist creates a pictorial image. Pigment: A colour substance, usually powdered. del Olmo, M.J., Garrido, C.R., & Tarrío, F.R. (2010). Music therapy in the PICU: 0- to 6-month-old babies. Music and Medicine, 2(3), 158-166. Siegel, Katy. Abstract Expressionism (includes artist’s statements). London: Phaidon, 2011. Pacquement, Alfred. Jours de fête.” Ellsworth Kelly, The Years in France, 1948-1954. Exh. cat. Washington, D.C.: National Gallery of Art, 1992: 47-57. The text is also published in French in the catalogue of the Paris venue of this exhibition and in German in the catalogue of the Münster venue.

Ansdell, G., & DeNora, T. (2016). Musical Pathways in Recovery: Community Music Therapy & Mental Wellbeing. London: Routledge. Colour: Analogous (blue and purple), very quiet effect. Shapes: Very fluid and loose, no clear outlines. Texture: Influenced by materials. See Artist’s Comments below. Line: Line is used sparingly to suggest detail, to separate shapes, and to create space. Very emotional. Sombre, perhaps angry (partly because of the force of the lines?). The drawing has been quickly and spontaneously executed. Colour has been applied emotionally rather than representationally. Schwartzberg, E.T., & Silverman, M.J. (2014). Music therapy song repertoire for children with autism spectrum disorder: A descriptive analysis by treatment areas, song types, and presentation styles. The Arts in Psychotherapy, 41(3), 240-249. Here are a few of the artists that actually use body parts,other than their hands, to create beautiful art. Warm Colours: Colours that suggest heat and warmth (e.g., red, orange, yellow). Warp: Threads under tension in a weaving through which the weft is woven. Wash: Watered-down pigment that has a transparent quality. Watercolour: Transparent paint made from a mixture of pigments and gum arabic. Weaving: A process of making fabric by intertwining threads, yarns, and other fibres to make a cloth or fabric where one set of threads, the warp, is under tension. Woodcut: A relief print made from a block of wood on which a design is gouged, chiselled, carved, or cut in relief. Wigram, T., & Lawrence, M. (2005). Music therapy as a tool for assessing hand use and communicativeness in children with Rett Syndrome. Brain & Development, 27, 95-96. Daykin, N., McClean, S., & Bunt, L. (2007). Creativity, identity and healing: participants’ accounts of music therapy in cancer care. Health (London), 11. American Prints of the 80’s. Exh. cat. London: Waddington Graphics, Ltd., 1985. Gerdner, L., Hamed, S., Elserogy, Y., Abdou, M., & Abdellah, M. (2012). Individualized music for dementia: Evolution and application of evidence-based protocol. World Journal of Psychiatry, 22(2), 26-32. The carnage and destruction of The Great War changed things utterly. By 1916, the Dada movement was launched, filled with a nihilistic urge to subvert the value system which had caused Verdun and the Somme. Suddenly representational art seemed obscene. No imagery could compete with photographs of the war dead. Already artists had been turning more and more to non-objective art as a means of expression. Abstract art movements of the time included Cubism (1908-40), Vorticism (1914-15), Suprematism (1913-18), Constructivism (1914-32), De Stijl (1917-31), Neo-Plasticism (1918-26), Elementarism (1924-31), the Bauhaus (1919-33) and the later St Ives School. Even the few figurative movements were distinctly edgy, such as Metaphysical Painting (c.1914-20). But compare the early 20th century Classical Revival in modern art and Neoclassical Figure Paintings by Picasso (1906-30).

Twentieth Century Works of Art. Exh. cat. New York: Stephen Mazoh & Co, Inc., 1985. Process Art is an artistic movement as well as a creative sentiment where the end product of art and craft, the objet d’art, is not the principal focus. The use of technology in music listening, performance, analysis, composition, recording and music study will be presented. The dimensions and applications of technology will be discussed as related to aesthetics, the musician’s experiences, musical style, and the musical experience. Basic introduction to the technologies of audio recording. Course includes required reading, listening, session participation. Music Majors Only. Pavlicevic, M. (2010). Music in an Ambiguous Place: Youth Development Outreach in Eersterust, South Africa. In B. Stige, G. Ansdell, C. Elefant & M. Pavlicevic (Eds.), Where Music Helps: Community Music Therapy in Action and Reflection (pp. 219-222). Aldershot: Ashgate. In many patients with dementia and Alzheimer’s disease, memories related to music can far outlast other memories, and listening to music can stimulate the recollection of autobiographical memories and enhance verbal memory, as well. In some cases, patients with dementia will be able to recognize emotions through listening to music, even when they can no longer do so through voices or facial expression. In late stages of the disease when it becomes difficult to form words and sentences, listening to music may make it easier to overcome these kinds of language deficits. In one small study, singing familiar songs elicited conversation between patients as well as recall of memories. Listening to music helps more than just memory. In patients with dementia, music therapy can help to decrease depression, anxiety, and agitation, while improving cognitive function, quality of life, language skills, and emotional well-being. One study found that when music was played in the background, patients with dementia showed increased positive behaviors such as smiling and talking, and decreased negative behaviors like agitation and aggression towards others. In another, music therapy sessions of one hour twice a week for eight weeks resulted in an improved emotional state, reduced behavioral problems, and reduced caregiver distress. The medial upper prefrontal cortex hub” also happens to be one of the last areas of the brain to atrophy from Alzheimer’s. This may explain why people with Alzheimer’s can still recall old songs from their past, and why music can bring about strong responses from people with Alzheimer’s, causing patients to brighten up and even sing along. In fact, a type of therapy called music therapy takes advantage of this very phenomenon.

Color, in particular, was a traditional strategy for making the imaginary objects placed in the architectural spaces of memory more efficacious.B. Bergmann, Introduction: The Art of Ancient Spectacle,” in Art of Ancient Spectacle, ed. B. Bergmann and C. Kondoleon (Washington, DC, 1999), 26: One common denominator that readily conveys the communicative power of this cognitive process by which something functions and is recognized as a sign of spectacle is color. As Christopher Jones says in his essay on the attire worn by participants in processions, ‘colors construct their own coded world.’ Even the audience in the stands presented a polychromatic spectrum of society, in which clothing distinguished social groups, and spectators could instantly see the key persons in the crowd. In the Forum, a candidate needed simply to wear a bleached white toga to advertise himself as standing for election; hence our modern term candidate, derived from the Latin candidus, meaning ‘white, shining, bright, and open.’” The anonymous author of the Rhetorica ad Herennium, a first-century BCE handbook on rhetoric, described it in this way: We ought, then, to set up images of a kind that can adhere longest in memory. And we shall do so if we establish similitudes as but active imagines agentes; if we assign to them exceptional beauty or singular ugliness; if we ornament some of them as with crowns or purple cloaks, so that the similitude may be more distinct to us if we somehow disfigure them, as by introducing one stained with blood or soiled with mud or smeared with red paint, so that its form is more striking, or by assigning certain comic effects to our images, for that, too, will ensure our remembering them more readily” (Ad Herennium 3.22; translation in Bergmann, Introduction,” 26, from F. A. Yates, The Art of Memory Chicago, 1966). Bergmann and other scholars of Roman art have noted the visual adaptation of this strategy in the color-coding of features in earlier domestic painting programs, including clothing and furnishings.E.g., Bergmann, Introduction,” 26-27: The ‘double-speak’ of spectacle signs that one finds in parodies also occurred in staged executions, when the condemned wore gold and purple, becoming the protagonists in their own public, fatal drama. Before his crucifixion, Jesus was dressed as a divine ruler in a purple mantle and a ‘radiate crown’ of thorns for the mockery of Roman soldiers. Contrived scenarios like these show the power of the sign to spark the memory and trigger certain associations, recalling the passage just quoted about making imagines agentes memorable. As Romans appropriated and ‘recycled’ the customs and images of those whom they conquered, Christians adopted the signs of pagan spectacles to describe the struggles and achievements of their martyrs. The very signs of humiliation became triumphal.” In several ways, then, the rooms were programmed to guide the viewer as if he were walking though the spaces of memory. Particular ideas were attached to mantles in these spaces, especially authority and its transmission, as well as the transmission of memory and character through the teachings of the fathers and the fathers’ gifting of a persuasive related consideration of late antique images of pilgrimage art as memory tools, see G. Frank, Loca Sancta Souvenirs and the Art of Memory,” in Pèlerinages et lieux saints dans l’Antiquité et le Moyen Âge: Mélanges offerts à Pierre Maraval, ed. B. Caseau, J.-C. Cheynet, and V. Déroche (Paris, 2006), 193-201.