Les ornements dans l'architecture: comment préserver la mémoire du travail des artisans et des artists

This paper deals with one aspecto f a survey which has been carried out for my doctorate thesis, and with parto f what I have studied within the thematic Project FAPESP concerning the presence of foreign professional in São Paulo, coordinated by Prof. Dr. Ana Lúcia Duarte Lanna, between 2007 and 2011. My purpose is, starting from those thoughts , top ut in evidence the potential of sources and reports relating to the work porocesses of craftsmen and artists decorators linked with the environment of architectural practeces and the decoration of interiors in the first half of the XXth century. That preoccupation has accompanied me since the beginnings of my doctorate work, devoted to the study of the production, the circulation and the modes of appropriation of ornaments in teh field of architecture.

Artists' advance: decreased upper alpha power while drawing in artists compared with non-artists

Brain mechanisms associated with artistic talents or skills are still not well understood. This exploratory study investigated differences in brain activity of artists and non-artists while drawing previously presented perspective line-drawings from memory and completing other drawing-related tasks. Electroencephalography (EEG) data were analyzed for power in the frequency domain by means of a Fast Fourier Transform (FFT). Low Resolution Brain Electromagnetic Tomography (LORETA) was applied to localize emerging significances. During drawing and related tasks, decreased power was seen in artists compared to non-artists mainly in upper alpha frequency ranges. Decreased alpha power is often associated with an increase in cognitive functioning and may reflect enhanced semantic memory performance and object recognition processes in artists. These assumptions are supported by the behavioral data assessed in this study and complement previous findings showing increased parietal activations in non-artists compared to artists while drawing. However, due to the exploratory nature of the analysis, additional confirmatory studies will be needed.

The Foundations of the Artists’ Community of Estes Park

"Estes Park lies in a beautiful location amongst the Rocky Mountains, sixty-five miles from Denver. Settlers came to the region in the second half of the nineteenth century. Among them in 1898 was artist R.H. Tallant who became a prominent landscape painter of the Rocky Mountains. Settling shortly after him was well-known painter Charles Partridge Adams. While Tallant and Adams founded the artists’ community, renowned artist Birger Sandzén and soon to be popular Dave Stirling were the mainstays pushing the artists’ community to new heights through the 1920s and 1930s. The establishment of a thriving artists’ community by Tallant, Adams, Sandzén and Stirling made Estes Park a recognizable place for attracting numerous artists throughout its history"