THE PROCESS OF FORMING A HOLISTIC PERCEPTION IN ACADEMIC PAINTING

2020 ◽  
Keyword(s):  
Holistic Perception ◽  
Academic Painting

USE OF CULTURAL LANDSCAPES AS A PART OF OPEN-AIR MUSEUMS

2020 ◽  
Vol 2020 (2) ◽  
pp. 181-187
Author(s):  
Brych M ◽  
Keyword(s):  
Cultural Landscape ◽  
Cultural Landscapes ◽  
Holistic Perception ◽  
Museum Exhibition

In Ukraine, there is no holistic perception of historical and cultural environments of monumental ensembles and complexes as an object of protection and use today. Their preservation will be effective only when the understanding of the object of protection is extended to the boundaries of the cultural landscape, including all its valuable elements. The best way to implement this concept is to include cultural landscapes in the open-air museum exhibition as its integral, active, and living element.

The involvement of neuro-linguistics and mind mapping in the development of a holistic perception of language education

2018 ◽  
Vol 6 (2) ◽  
pp. 116-125
Author(s):  
Gabriela Petrová ◽  
Nina Kozárová
Keyword(s):  
Foreign Language ◽  
Learning Process ◽  
Language Education ◽  
Linguistic Knowledge ◽  
Mind Mapping ◽  
Repetitive Process ◽  
Holistic Perception ◽  
Mind Maps

Abstract The majority of people who have experienced institutionalized education have found it extremely laborious, slow and a necessarily repetitive process. The authors of this paper focus on and present possibilities for making the teaching of a foreign language more effective through mind mapping: the implementation of neuro-linguistic knowledge and mind maps into the learning process.

Understanding the dairy production systems in rural settlements in the Brazilian semi-arid region: characterization, typology, and holistic perception

2021 ◽  
Vol 53 (4) ◽  
Author(s):  
Maria Samires Martins Castro ◽  
Delano de Sousa Oliveira ◽  
Raquel Oliveira dos Santos Fontenelle ◽  
Ana Paula Araújo do Nascimento ◽  
Robson Mateus Freitas Silveira ◽  
...  
Keyword(s):  
Arid Region ◽  
Production Systems ◽  
Dairy Production ◽  
Rural Settlements ◽  
Holistic Perception ◽  
Semi Arid Region ◽  
Semi Arid

scholarly journals Macronutrient Sensing in the Oral Cavity and Gastrointestinal Tract: Alimentary Tastes

Nutrients ◽  
2021 ◽  
Vol 13 (2) ◽  
pp. 667
Author(s):  
Russell Keast ◽  
Andrew Costanzo ◽  
Isabella Hartley
Keyword(s):  
Gastrointestinal Tract ◽  
Oral Cavity ◽  
Alimentary Canal ◽  
Narrative Review ◽  
Interesting Aspect ◽  
Basic Taste ◽  
Perceptual Independence ◽  
Holistic Perception ◽  
Fat Taste

There are numerous and diverse factors enabling the overconsumption of foods, with the sense of taste being one of these factors. There are four well established basic tastes: sweet, sour, salty, and bitter; all with perceptual independence, salience, and hedonic responses to encourage or discourage consumption. More recently, additional tastes have been added to the basic taste list including umami and fat, but they lack the perceptual independence and salience of the basics. There is also emerging evidence of taste responses to kokumi and carbohydrate. One interesting aspect is the link with the new and emerging tastes to macronutrients, with each macronutrient having two distinct perceptual qualities that, perhaps in combination, provide a holistic perception for each macronutrient: fat has fat taste and mouthfeel; protein has umami and kokumi; carbohydrate has sweet and carbohydrate tastes. These new tastes can be sensed in the oral cavity, but they have more influence post- than pre-ingestion. Umami, fat, kokumi, and carbohydrate tastes have been suggested as an independent category named alimentary. This narrative review will present and discuss evidence for macronutrient sensing throughout the alimentary canal and evidence of how each of the alimentary tastes may influence the consumption of foods.

scholarly journals Gaze contingent methods reveal a loss of holistic perception for inverted faces

2010 ◽  
Vol 10 (7) ◽  
pp. 638-638
Author(s):  
G. Van Belle ◽  
K. Verfaillie ◽  
P. De Graef ◽  
B. Rossion ◽  
P. Lefere
Keyword(s):  
Holistic Perception

scholarly journals Holistic perception of faces in 17 milliseconds: Evidence from three measures

2019 ◽  
Vol 19 (10) ◽  
pp. 92 ◽  
Author(s):  
Xiaoyi Liu ◽  
James W. Tanaka
Keyword(s):  
Holistic Perception

scholarly journals The forest or the trees: preference for global over local image processing is reversed by prior experience in honeybees

2015 ◽  
Vol 282 (1799) ◽  
pp. 20142384 ◽  
Author(s):  
Aurore Avarguès-Weber ◽  
Adrian G. Dyer ◽  
Noha Ferrah ◽  
Martin Giurfa
Keyword(s):  
Visual Processing ◽  
Visual Information ◽  
Visual Recognition ◽  
Spatial Configuration ◽  
Local Information ◽  
Insect Vision ◽  
Hierarchical Stimuli ◽  
Spatial Configurations ◽  
Holistic Perception ◽  
Local Cues

Traditional models of insect vision have assumed that insects are only capable of low-level analysis of local cues and are incapable of global, holistic perception. However, recent studies on honeybee ( Apis mellifera ) vision have refuted this view by showing that this insect also processes complex visual information by using spatial configurations or relational rules. In the light of these findings, we asked whether bees prioritize global configurations or local cues by setting these two levels of image analysis in competition. We trained individual free-flying honeybees to discriminate hierarchical visual stimuli within a Y-maze and tested bees with novel stimuli in which local and/or global cues were manipulated. We demonstrate that even when local information is accessible, bees prefer global information, thus relying mainly on the object's spatial configuration rather than on elemental, local information. This preference can be reversed if bees are pre-trained to discriminate isolated local cues. In this case, bees prefer the hierarchical stimuli with the local elements previously primed even if they build an incorrect global configuration. Pre-training with local cues induces a generic attentional bias towards any local elements as local information is prioritized in the test, even if the local cues used in the test are different from the pre-trained ones. Our results thus underline the plasticity of visual processing in insects and provide new insights for the comparative analysis of visual recognition in humans and animals.

CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE

2021 ◽  
pp. 127-138
Author(s):  
Galina S. Gultyaeva ◽  
Keyword(s):  
20Th Century ◽  
Filial Piety ◽  
Chinese Society ◽  
Classical Literature ◽  
Graphic Art ◽  
Political Processes ◽  
The People ◽  
Metaphoric Language ◽  
Academic Painting ◽  
The Aesthetic

Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.

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