Rembrandt’s self-portraits

O’Neill, F. W. S.; Corner, Sofia Palazzo

doi:10.1088/2040-8978/18/8/080401

Cited by 3 publications

(3 citation statements)

References 8 publications

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“…In my opinion, a remarkable optical relation between Rembrandt's portraits and neuroendoscopic views is truly present. In a recent study conducted by the researchers F. O'Neill and S. Corner and published in the Journal of Optics in 2016, the authors provided further evidence that Rembrandt used lens and mirror technology to make his famous self-portraits [9]. Human figures in Rembrandt's portraits are located within the center of the composition and exposed to directional light that unveils their details.…”

Section: Rembrandt's Portraits and Neuroendoscopymentioning

confidence: 97%

“…Subsequently, some portions of the projected image are traced, altered, or completely ignored according to the painter's artistic vision [6,7]. Historical and artistic evidence made it currently wellknown that the French painter Jean-Auguste-Dominique Ingres (1780-1867) used a camera lucida to produce his portraits [6,8], and that Gerrit Dou (1613-1675), one of Rembrandt's students, employed grids, lenses, and mirrors to make his finely executed paintings [6,9].…”

Section: Optical Devices and Optical Realism In The Dutch Golden Age mentioning

confidence: 99%

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Neuroendoscopy and the art of painting: reflections from the Dutch Golden Age

Azab

2019

Childs Nerv Syst

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Section: Rembrandt's Portraits and Neuroendoscopymentioning

confidence: 97%

Section: Optical Devices and Optical Realism In The Dutch Golden Age mentioning

confidence: 99%

Neuroendoscopy and the art of painting: reflections from the Dutch Golden Age

Azab

2019

Childs Nerv Syst

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“…He used the then-unknown in art practice mineral plumbonacrite in paint recipes. Scientists have revealed that the master created his self-portraits using a mirror system (O'Neill & Corner, 2016). The use of these technologies does not diminish the significance of Rembrandt's work in the history of fine art.…”

Section: Main Research Materialsmentioning

confidence: 99%

Artificial Intelligence and Issue of Authorship and Uniqueness for Works of Art (Technological Research of the Next Rembrandt)

Sovhyra¹

2021

CAAITMW

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The purpose of the article is to explore the specifics and uniqueness of visual works created using AI technology. The research methodology is based on applying analytical, theoretical, and conceptual research methods of technological art and the interrelation between digital technologies and art in general. The scientific novelty lies in the fact that the art forms that created using digital technologies were analysed for the first time. In the article, we have considered the phenomenon of technological art due to integrating art and technology. Conclusions. It is revealed that due to the mathematical analysis of the artists’ artworks, certain algorithms of the author’s work can be found, the main components of the work of art can be analysed, and the sign system of art can be transformed into a system of a different order which is numerical one. Thus, the colour, shape, positioning of the objects on the canvas (composition) — everything turns into numerical formulas and combinations. The graphic drawing is transformed into digital, algorithmic. A certain number system is being built, which allows to group works (one artist, era, art movement) into single collection systems, analyse and identify similar algorithmic chains, and create new art products based on these algorithms using the obtained numerical combinations. It means that with algorithmic analysis, it is possible to compare and even combine different types of art within one plane, one form, and one art product.

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Selfies as Duplex Non-verbal Communication: Human—Media Interaction, Human—Human Interaction, Case Study, and Research Manifesto

Bruno

Uccelli

Pisu

et al. 2020

Front. Comput. Sci.

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Using conceptual tools from semiotics, proxemics, and sensorimotor neuroscience, we propose a duplex model for understanding selfies as non-verbal communication involving an interplay between two layers of interaction: human-media (semiotically primary) and human-human (secondary). We suggest that this approach has promise as a tool for understanding this newborn form of human social behavior and its social, psychological, and neural underpinnings. To support our claim, we do several things. We offer a definition of selfies and outline our model. We review the existing literature on selfies as non-verbal communication to show that there is evidence bearing on our theoretical framework. We present a case study documenting how a combination of image analysis and kinematic measurement can be used to compare taker-smartphone interactions during selfie-taking with image features that play a role in the virtual interaction between the selfie-taker and his or her viewers. Our results support the feasibility of our approach and reveal a sex-related effect on the composition of selfies matching a related difference in the kinematic markers that describe the taker-smartphone interaction. Finally, we discuss outstanding questions in understanding selfies as duplex non-verbal communication and conclude by inviting further research on this topic.

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Rembrandt’s self-portraits

Cited by 3 publications

References 8 publications

Neuroendoscopy and the art of painting: reflections from the Dutch Golden Age

Neuroendoscopy and the art of painting: reflections from the Dutch Golden Age

Artificial Intelligence and Issue of Authorship and Uniqueness for Works of Art (Technological Research of the Next Rembrandt)

Selfies as Duplex Non-verbal Communication: Human—Media Interaction, Human—Human Interaction, Case Study, and Research Manifesto

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