Lycoism identifies the meaning of art with life-serving purpose. It refuses to polarize science and art, but seeks to unify aesthetics and ethics in works which involve the use of science and technology by the artist in the creation of beauty.
Concerning itself with cultural transformation and the human condition, Lycoism seeks to expand the boundaries of aesthetics. It is based on the idea of “Lyrical Conceptualism” developed by the Canadian painter and poet Paul Hartal.
Since science and technology impact so much of modern lifestyle, Lycoism views the relationship of art, science, and technology as a pivotal concern. It creates a conscious bridge between the impulsive, intuitional, and planned elements of the creative process. This process represents the interaction of emotion and intellect, where the passion of logic and the logic of passion are interwoven.
Hartal did not intend to form a new post-conceptualist splinter-trend. His intention was the creation of a new philosophy of art in which the tearing down of the boundaries between art and science, the interlacement of the intuitive and the exact, and incorporation of the lyrical and the geometrical play a central role.
Luminism is an American landscape painting style of the late 19th century characterized by effects of light in landscapes through the use of aerial perspective and concealing visible brushstrokes. Luminist landscapes emphasize tranquility and often depict calm, reflective water and a soft, hazy sky.
The term luminism was introduced by 20th century art historians to describe a painting style that developed as an offshoot of the Hudson River school. The artists who painted in this style did not refer to their own work as luminism, nor did they articulate any common painting philosophy outside of the guiding principles of the Hudson River school.
Luminism shares an emphasis on the effects of light with impressionism. However, the two styles are markedly different. Luminism is characterized by attention to detail and the hiding of brushstrokes, while impressionism is characterized by lack of detail and an emphasis on brushstrokes. Luminism preceded impressionism, and the artists who painted in a luminist style were in no way influenced by impressionism.
Booker T. Jones is an instrumentalist, songwriter and arranger, best known for fronting the band Booker T. and the MGs. He has also worked in the studios with some of the most highly regarded artists of our time, earning him a Grammy Award for lifetime achievement.
Jones was a child prodigy, playing the oboe, saxophone, trombone, and piano at school and serving as organist at his church. He attended Booker T. Washington High School with future stars like Isaac Hayes’s writing partner David Porter, and Earth, Wind, and Fire’s Maurice White.
Booker T. & the MGs are an instrumental R&B band that was influential in shaping the sound of Southern Soul and Memphis Soul. For many years, the official story was that the bandname The MGs was meant to stand for Memphis Group, not the sports car of the same name. However, this proved not to be the case, as musician and record producer Chips Moman, active in Stax Records when the band was formed, claims they were named after his car.
In June of 1967, they appeared at the Monterey Pop Festival, alongside performers like Jimi Hendrix, Janis Joplin, The Who, and Jefferson Airplane. They were also later invited to play Woodstock, but drummer Al Jackson, Jr. was worried about the helicopter needed to deliver them to the site, and so they decided not to play.
The Mexicali Brass were apparently created by Crown Records, a subsidiary of the Bihari Brothers’ Modern Records, in order to cash in on the popularity of Herb Alpert & The Tijuana Brass and The Baja Marimba Band during the 1960s.
Teddy Phillips, the band’s leader, graduated from Oak Park River High School, where he had learned to play the sax in school band. After graduation, he toured with many bands and also worked in radio studio bands for both NBC and CBS
He formed his own band in 1944, the Teddy Phillips Orchestra, which played at local Chicago clubs until 1947, when he played the Aragon Ballroom. The band was a fixture there and at the Trianon and Willowbrook Ballrooms became the best known band in town. Curiously, his popularity came just as the Big Bands era was closing.
By the 1960s, he had transformed the band into the Mexicali Brass, a Las Vegas style Mariachi Band. During the 1970s, he continued performing with the band, and toured the USA briefly.
Bert Kaempfert was a German orchestra leader and songwriter. He made easy listening and jazz oriented records and wrote the music for a number of well-known songs, such as Strangers in the Night and Spanish Eyes.
He was born in Hamburg, Germany, where he received his lifelong nickname, “Fips”. He studied at the School of Music and was hired by Hans Busch to play with his orchestra before serving as a bandsman in the German Navy during World War II. He later formed his own big band, toured with them, then worked as an arranger and producer.
One contributor to Kaempfert’s music was guitarist-bassist Ladislav “Ladi” Geisler, who popularized the famous “knackbass” (crackling bass) sound, which became the most distinctive feature of many Kaempfert recordings. It is a treble staccato bass guitar sound in which the bass string is plucked with a pick and immediately suppressed to cancel out any sustain.
Tahitian Sunset was sampled extensively by the lo-fi dance artists Lemon Jelly as their track In the Bath.
Magical realism is an artistic genre in which magical elements or illogical scenarios appear in an otherwise realistic or normal settings. It has been widely used in relation to literature, art, and film.
As used today, the term is broadly descriptive rather than critically rigorous. Matthew Strecher has defined magic realism as “what happens when a highly detailed, realistic setting is invaded by something too strange to believe.” The term was initially used by the German art critic Franz Roh to refer to a painterly style also known as Neue Sachlichkeit (the New Objectivity). It was later used to describe the unusual realism by American painters and other artists during the 1940s and 1950s. However, in contrast to its use in literature, when used to describe visual art the term refers to paintings that do not include anything fantastic or magical, but are rather extremely realistic and often mundane.
One of the major critical and commercial successes of Magic Realism is One Hundred Years of Solitude by Gabriel García Márquez. It is widely considered the master work of the genre and perhaps the novel that has most shaped world literature over the past 25 years. The author confessed, “My most important problem was destroying the line of demarcation that separates what seems real from what seems fantastic.”
As recently as 2008, magical realism in literature has been defined as a kind of modern fiction in which fabulous and fantastical events are included in a narrative that otherwise maintains the reliable tone of objective realistic report. Designating a tendency of the modern novel to reach beyond the confines of realism and draw upon the energies of fable, folk tale, and myth while maintaining a strong contemporary social relevance. The fantastic attributes given to characters in such novels such as levitation, flight, telepathy and telekinesis are among the means that magic realism adopts in order to encompass the often phantasmagoric political realities of the 20th century.
Cave paintings are paintings on cave walls and ceilings, and the term is used especially for those dating to prehistoric times. The earliest known European cave paintings date to Aurignacian, some 32,000 years ago. The purpose of the paleolithic cave paintings is not known. The evidence suggests that they were not merely decorations of living areas, since the caves in which they have been found do not have signs of ongoing habitation. Also, they are often in areas of caves that are not easily accessed. Some theories hold that they may have been a way of communicating with others, while other theories ascribe them a religious or ceremonial purpose.
The most common themes in cave paintings are large wild animals, such as bison, horses, aurochs, and deer, and tracings of human hands as well as abstract patterns, called finger flutings. Drawings of humans were rare and are usually schematic rather than the more naturalistic animal subjects. One explanation for this is that realistically painting the human form was forbidden by a powerful religious taboo. Many of the paintings were drawn with red and yellow ochre, hematite, manganese oxide and charcoal. Sometimes the silhouette of the animal was incised in the rock first.
Henri Breuil interpreted the paintings as being hunting magic, meant to increase the number of animals. As there are some clay sculptures that seem to have been the targets of spears, this may partly be true, but does not explain the pictures of predators such as the lion or the bear.
An alternative theory based on ethnographic studies of contemporary hunter-gatherer societies, is that the paintings were made by Cro-Magnon shamans. The shaman would retreat into the darkness of the caves, enter into a trance state and then paint images of their visions, perhaps with some notion of drawing power out of the cave walls themselves. This goes some way toward explaining the remoteness of some of the paintings, which often occur in deep or small caves, and the variety of subject matter, from prey animals to predators and human hand-prints.
Automatic drawing was developed by the surrealists as a means of expressing the subconscious. In automatic drawing, the hand is allowed to move randomly across the paper. In applying chance and accident to mark making, drawing is to a large extent freed of rational control. Hence the drawing produced may be attributed in part to the subconscious and may reveal something of the psyche, which would otherwise be repressed.
Artists who practised automatic drawing include Joan Miró, Salvador Dalí, Jean Arp and André Breton. The technique was transferred to painting, as seen in Miró’s paintings which often started out as automatic drawings, and has been adapted to other media. Most of the surrealists’ automatic drawings were illusionistic, or more precisely, they developed into such drawings when representational forms seemed to suggest themselves.
In the 1940s and 1950s the French-Canadian group called Les Automatistes pursued creative work based on surrealist principles. They abandoned any trace of representation in their use of automatic drawing. This is perhaps a more pure form of automatic drawing since it can be almost entirely involuntary. To develop a representational form requires the conscious mind to take over the process of drawing, unless it is entirely accidental and thus incidental.
The computer, like the typewriter, can be used to produce automatic writing and automatic poetry. The practice of automatic drawing, originally performed with pencil or pen and paper, has also been adapted to mouse and monitor, and other automatic methods have also been either adapted from non-digital media, or invented specifically for the computer. For instance, filters have been automatically run in some bitmap editor programs such as Photoshop. One of the newest applications of this approach is Dynamic Painting by San Base.
Reverse learning is a neurobiological theory of dreams. It is like a computer that is off-line during dreaming or the REM phase of sleep. During this phase, the brain supposedly sifts through information gathered throughout the day and throws out all unwanted material. According to the theory, we dream in order to forget and this involves a process of unlearning.
The cortex cannot cope with the vast amount of information received throughout the day without developing parasitic thoughts that would disrupt the efficient organisation of memory. During REM sleep, these unwanted connections in cortical networks are supposedly wiped out or damped down by the process making use of impulses bombarding the cortex from sub-cortical areas.
Reverse learning eliminates unwanted modes of neural network interaction acquired in the adult mammal’s learning and also in the process of fetal brain growth. Therefore, there is a possibility that abnormalities of reverse learning in the fetal brain might explain some aspects of the autistic syndromes or other neurodevelopmental disorders.
The theory is a variant upon the activation-synthesis hypothesis that a brain stem neuronal mechanism sends pontine-geniculo-occipital (or PGO) waves that automatically activate the mammalian forebrain. By comparing information generated in specific brain areas with information stored in memory, the forebrain synthesizes dreams during REM sleep.
One problem for reverse-learning theory is that dreams are often organized into clear narratives or stories. It is unclear why dreams would be organized in a systematic way if they consisted only of disposable parasitic thoughts. It is also unclear why babies sleep so much, because it seems they would have less to forget.
Multiobjective optimization or programming, also known as multi-criteria or multi-attribute optimization, is the process of simultaneously optimizing two or more conflicting objectives subject to certain constraints.
Multiobjective optimization problems can be found in various fields: product and process design, finance, aircraft design, the oil and gas industry, automobile design, or wherever optimal decisions need to be taken in the presence of trade-offs between two or more conflicting objectives. Maximizing profit and minimizing the cost of a product; maximizing performance and minimizing fuel consumption of a vehicle; and minimizing weight while maximizing the strength of a particular component are examples of multi-objective optimization problems.
If a multiobjective problem is well formed, there should not be a single solution that simultaneously minimizes each objective to its fullest. In each case we are looking for a solution for which each objective has been optimized to the extent that if we try to optimize it any further, then the other objectives will suffer as a result. Finding such a solution, and quantifying how much better this solution is compared to other such solutions (there will generally be many) is the goal when setting up and solving a multiobjective optimization problem.