A Study of an Artist`s Self-Development through an Investigation of Selected Works of Richard Diedenkonrn

( Marc Aronson ) 한국영상미디어협회 2008 예술과 미디어 Vol.7 No.1

The purpose of this study was to explore the impact of the work of one artist on another through the responses of this artist/researcher to the works of Richard Diebenkorn. This included my creating four paintings that reflect those understandings. Critics, historians, and philosophers offer valuable theoretical background, but they usually work with already existing art and concepts. They provide a context or categories by which art can be evaluated. The artist, on the other hand, is involved in formulating a mixture of something to come which has yet to be defined. The artist while he usually does not define or describe his own work objectively, nevertheless produces the amalgam of ideas that is represented within the object itself. The emerging artist must mix his own concoction out of the ambiguities that surround him. In the process of concocting the model of another artist`s trials and tribulations sustains and helps him understand the processes involved. They provide standards, allow one to recognize the possible boundaries as well as show one how to avoid the banal and the easily attainable. The emerging artist must choose those artists from whom to learn, and he usually does so intuitively, based on a hunch, along with some experience. Benedetto Croce related this paradigm of intuition as it applies to the artist. central to his aesthetics .... He regards aesthetic experience as a primitive type of cognition. Intuition involves an awareness of a particulsr image, which constitutes a nonconceptual form of knowledge. Art is the expression of emotion but not simply for its own sake. The expression of emotion can produce cognitive awareness in the sense that a particulsr intuited image can have a cosmic aspect, so the in it the universal human spirit is terceived.1) This paradigm can be used by the artist as a means of making ideological connections between himself and others. Little has been formally written about how an artist chooses whom to study, yet this means of development has been noted in artists` sketchbooks, in records of their conversations, and in their collected works of other artists. Two recent Metropolitan Museum of Art exhibitions, for example, have dealt with this idea: Notebooks of Jackson Pollock and The Private Collection of Edgar Degas. The Pollock exhibition enabled a viewer to trace the development of Pollock`s work and the influence of particular artist at different stages of its genesis. The Degas exhibition also documented Degas` personal art collection that he had amassed during his lifetime, which demonstrates the extent to which Degas was influenced by the work of those other artists. In his New York Times reviewof the exhibit, Michael Kimmelman cites how a particular Degas painting illustrates the influence of both Ingres and Delacroix, whose work Degas collected: Degas somehow seamlessly melded into his art. Look at his Morbilli double portrait, for instance, in which he seems to mimic lngres` precision in the portrait of her and Delacroix`s looser approach in the portrait of him. Combined they m 맏 something disctinctly Degas. 2) In addition to Pollock and Degas, artists who have studied other`s works include Brice Marden, who has emulated Diebenkorn and Rothko: Rothko, who emulated Miro and Milton Avery; Frank Stella, who emulated Barnett Newman at an early point in his artistic production and who also incorporated ideas from Caravaggio and Kandinsky and the painterliness of DeKooning; and Diebenkorn himself. Studying the work of another artist is a rigorous but insightful enterprise for a developing artist. By looking and understanding the work of others, an artist can begin to understand his own work better. This is due, in part, because it allows him to place his own art in history and interrelate it with the work of the other artist. By understanding his art historical precedents, an artist can place his own work within a context, whine, in turn, leads to growth and innovation. Careful observation of that artist`s work may lead the developing artist to an understanding of how they both might have worked toward resolving an idea; the developing artist, in turn, can then proceed with confidence in his own art production. Diebenkon using this method himself, found his own place in the history of painting by a life-long pursuit of carefully examining and exploring the works of artists that the admired. Through this careful attention, he developed something that was uniquely his own. Diebenkorn often cites Matisse, Mondrian, and Cazanne as major influences, and they are evident in the work of this period. However, perhaps the most important was Matisse, whose lush color, use of pattern, flat shapes, and interest in the contrast of indoor with outdoor light appealed mightily to the younger artist. I have always been interested in the impact that one artist has on another. I noted that my own work had been affected by the art of other artists and that this is a regular occurrence in the work of other artists, as well. This study exemplifies how focusing on areas of affinity between two artists can generate new avenues that an artist can use to develop his work in interesting and unexpected ways. It describes how one artist (Aronson) manifested a process of understanding (Diebenkorn). In conducting this study, I considered several broad but relevant questions regarding how artists learn from each other: What practices have artists employed to absorb the work of other artists? How does the artist establish relationships with periods of art history and art historical personalities that assist him in his development? How does an artist choose the problems he will pursue and react to problems being pursued by other artists with whom the artist has an affinity? This study is also attempt to provide insight into the importance of teaching studio art at the college level using a structured artist-teaching-artist philosophy. Having a student study the work of another artist is a common teaching studio practice. Comparisons are always made between the path the student seems to be exploring and work of those of earlier artist who have already traversed similar issues of the student or have come up with discoveries that contribute or significantly characterize the student`s oeuvre. Unfortunately, little has been done to structure the way and artist can study and learn from another artist. This study was an attempt to do so. It provides an example of how one may proceed in studying other artists that can be useful to both developing artists and their teachers.

Spatial Text/Spatial Texture

Aronson, Arnold 한국연극학회 2004 한국연극학 Vol.0 No.22

현재 우리는 시각적 비디오 이미지가 우리를 에워싸고 있을 뿐만 아니라 우리의 세계관 자체를 형성할 정도로 전자공학과(electronic) 디지털 문화가 지배하는 세계 안에 살고 있다. 이는 더 이상 새로울 것도 없는 사실이다. 우리가 디지털 이미지를 연출해내는 신기술에 적응하는 속도만큼이나 그것은 우리의 현실 인식을 바꾸어 왔다. 디지털 이미지가 만들어내는 텍스트의 결이나 필름이 만들어내는 그것, 그림이 만들어내는 그것 등은 모두 다르다. 그래서 20세기 초의 미술사가들은 각 문화, 각 사회는 자신의 인식 양식에 맞는 방법으로 공간을 재현해낸다고 말했다. 무대란 TV나 사이버 기술, 심지어는 영화와도 명백히 다른 미디어다. 연극은 실제의 시공간 안에 연기자들까지 포함해 삼차원적 대상들을 통합하는 라이브 공연이다. 비록 무대 위에서 객석과는 다른 시공간에 대한 허상을 창조해내려고 하지만, 결국 관객들과 동일한 시공간을 공유한다. 역사적으로, 연극은 순환적인 사회의 메커니즘의 일부였다. 당시 문화에 속했던 사람들에게서 연극이란 그 시대의 사회적 교류와 담론을 추론해 낼 수 있는 문화의 핵심적 부분이다. 무대 위에서 벌어지고 있는 상황들을 보면서 관객들은 정치사회적 제도를 강화하려 하기도 하고, 무대 위에 재현된 사회를 전복하려 하기도 하였다. 그러나 기술 산업의 시대에 변화나 정체의 촉매 역할을 했던 연극의 역사적 고리는 깨졌다. 이제는 주변화되어 버린 연극은 사회적 영향력은 거의 없거나, 소수의 특정한, 고립된 관객들에게만 사회적 도구가 되었다. 이제 연극은 정보전달의 매체가 아니라, 향수를 불러일으키는, 고전적 기호들의 매체가 된 것이다. 다른 매체와 단계의 양식을 이해하는 데 있어 "틀"(framing)은 중요한 문제가 된다. 신미디어 이론에 있어 선두 주자 가운데 하나인 레브 마노비치는 비록 고전적이고 역동적인 틀이라는 차이가 있기는 해도 그림틀과 영화, TV 컴퓨터 스크린을 동일시하였다. 즉, 전자는 고정된 이미지를 가지고 있고 후자에 열거된 것은 끊임없이 변모하는 이미지를 가지고 있긴 해도, 스크린 속 이미지도 그림과 마찬가지로 닫혀 있는 공간을 규정한다는 것이다. 연극의 공간 또한 여러 실험이 존재하긴 해도 무대와 관객의 세계를 구분하려는 일종의 틀이 있다는 것이다. 틀이란 것은 결국 스크린 외부의 세계는 배제하고 스크린에만 집중할 것을 주장하는데, 연극적 경험은 자신이 위치한 객석이나 무대 밖 공간을 포함한 더 넓은 연극적 환경의 맥락을 떼어놓고 볼 수 있는 경우가 별로 없다. 그래서 무대 위의 현실은 미디어의 현실과는 다른 질서 안에 존재한다. 그리고 전자, 디지털 매체들은 아무 데도 없으면서도 어디에도 존재할 수 있는 반면 연극은 그 자리에 관객들을 필요로 한다는 면에서 살아있는 존재들과의 직접 대면해야한다는 관념이 묶여 있다. 연극이 미디어와 구분되는 지점을 찾을 수 있는 다른 특질들은 텍스트의 결, 시간, 움직임이 있다. 텍스트의 결이라는 면에서 연극은 아무리 플라톤의 이데아의 불완전한 복제물에 불과한, 축소된 세상을 보여주고 있다고 해도 실제의 사물들이 존재하고 보여지고 있는 현실과 완전히 분리될 수 없다. 그러나 컴퓨터 그래픽을 동원해서 만들어낸 영화 속 세계는 너무 완벽하고 너무 "실제" 같아서 "실제가 아닌" 세계이다. 아무리 실제가 아니려 해도 실제를 그 자리에서 보여주고 있는 연극과는 다를 수밖에 없다. 그리고 현실의 순간을 포착해서 보여준다는 점에서 연극이나 텔레비전이나 모두 마찬가지같지만 연극의 현실은 지역적인 시공간이다. 반면 새로운 매체들은 폴 비릴리오(Paul Virilio)라는 학자가 주장하는 것처럼 세계적이면서 어디에고 존재할 수 있는 잠재성을 가진다. 역사가 기존에는 지역적 시간, 틀, 국가 안에서 일어났다면 이제는 세계 시간이라는 하나의 시간 체계 안에서 벌어지고 있다는 것이다. 그리고 시간과 관련하여 또 다른 차이점은 연극적 시간은 기본적으로 단선적이라는 것이다. 물론 시간적 순서를 거슬러 갈 수도 있지만 여전히 극작가가 결정한 서사적 흐름 안에서 움직여 다니는 것이다. 반면 독일 철학자 라이프니츠가 언급했던 "신의 눈" 아래서 모든 것이 한순간에 펼쳐져 있는 보편적 구조를 모방한 것이 바로 정보와 사상이 세계 안에 자유롭게 유영할 수 있는 사이버 스페이스라고 볼 수 있다. 그리고 마지막으로는 움직임(movement)인데, 이는 물리적 움직임이나 접촉이라 볼 수 있을 것이다. 사이버 스페이스 내에서 심리적으로, 가상 현실이란 형태로 자유롭게 움직여 다니고 자신에게 이미지를 보여주고 있는 도구를 마주하고 있지만, 그는 고립되어 있다. 반면 연극 무대의 관객들은 실제의 관객들이 바로 그 자리에 존재하고 있다. 그래서 한편으로는 적극적이고 능동적인 관객의 참여를 기대하면서도 이미 가까운 물리적 거리로 인해 침투당할 수도 있는 미학적 거리를 유지하기 위해 어느 정도 수동적인 관객들을 필요로 하기도 한다. 그러나 이미 디지털화된 문화, 컴퓨터 그래픽을 재현의 지표로 삼을 만큼 컴퓨터에 능한 세대들이 자라났다. 이들에게는 친밀한 라이브 공연이라는 연극, 무용, 오페라 등을 경험한 기회는 거의 없다시피 하다. 특정한 제의적이거나 상호교류적 형식의 연극을 제외하고는 아바타가 지배하는 공간을 연극이 되찾게 될 거라 생각할 여지는 전혀 없다. 다만 브렌다 로렐(Brenda Laurel)이 "극장으로서의 컴퓨터"라는 그녀의 저서에서 새로운 미디어의 결과 그것이 이용되는 맥락 안에서 한때 연극이 불러일으켰던 종류의 열정과 담론을 이야기할 것이라는 주장에 귀를 기울이게 된다. 우리가 의식하지도 못하는 사이 이미 이런 혁명이 일어나고 있는지도 모른다는 것이다.

Plasma Digoxin Concentrations : Indications for Measurement

Aronson, Jeffrey K. Medical Publications Korea 1985 Medical Progress Vol.7 No.5

How a VOICE for clinical pharmacology turns into a RECIPE for its development

Jeffrey K Aronson 대한임상약리학회 2016 Translational and Clinical Pharmacology Vol.24 No.1

Pharmacology is the study of the actions of synthetic or semisynthetic chemicals or naturally occurring substances on molecules, cells, tissues, and living organisms, as seen in physiological and pathological systems, seeking to establish order, pattern, and sequence among them, aiming ultimately to determine the rules by which pathophysiological information can be coded into molecules, allowing prediction of both beneficial and harmful consequences. Clinical pharmacology is the application, informed by an understanding of pharmacology, of all aspects of the study and use of medicines in humans, whose practitioners, normally medically qualified, teach, do research, frame policy, and give information and advice about the actions and proper uses of medicines in humans and implement that knowledge in clinical practice. Clinical pharmacology expanded in the UK during the 1960s and 1970s and maintained a steady state during the 1980s, but thereafter started to decline. Since 2006 this decline has been halted and partly reversed through the efforts of the British Pharmacological Society, by demonstrating the need for clinical pharmacology in clinical practice, teaching, research, and policy making, and bringing that need to the attention of medical colleagues, regulators, government, and the public. Efforts continue to maintain and enhance this recovery, using the VOICE paradigm, which involves improving and maintaining the Visibility of the specialty, Outreach to advertise its attractiveness to potential trainees and creating a public image for the specialty, Integration with other disciplines, encouraging Coverage of neglected areas, and the use of Emissaries, particularly younger members of the discipline, to promote it, both within medicine and in the wider world. Fortuitously, translation of the five elements of this paradigm into Korean, and back-translation into English, with the addition of a sixth element, provides a RECIPE for the future of clinical pharmacology and therapeutics.

Turning up the heat does not affect quality of life

Willemien J. van Driel,S. Lot Aronson,Ruby M. van Stein,Gabe S. Sonke 대한부인종양학회 2022 Journal of Gynecologic Oncology Vol.33 No.4

A One-Size-Fits-All Indexing Method Does Not Exist: Automatic Selection Based on Meta-Learning

Antonio Jimeno-Yepes,James G. Mork,Dina Demner-Fushman,Alan R. Aronson 한국정보과학회 2012 Journal of Computing Science and Engineering Vol.6 No.2

We present a methodology that automatically selects indexing algorithms for each heading in Medical Subject Headings (MeSH), National Library of Medicine’s vocabulary for indexing MEDLINE. While manually comparing indexing methods is manageable with a limited number of MeSH headings, a large number of them make automation of this selection desirable. Results show that this process can be automated, based on previously indexed MEDLINE citations. We find that AdaBoostM1 is better suited to index a group of MeSH hedings named Check Tags, and helps improve the micro F-measure from 0.5385 to 0.7157, and the macro F-measure from 0.4123 to 0.5387 (both p < 0.01).

A One-Size-Fits-All Indexing Method Does Not Exist: Automatic Selection Based on Meta-Learning

Jimeno-Yepes, Antonio,Mork, James G.,Demner-Fushman, Dina,Aronson, Alan R. Korean Institute of Information Scientists and Eng 2012 Journal of Computing Science and Engineering Vol.6 No.2

We present a methodology that automatically selects indexing algorithms for each heading in Medical Subject Headings (MeSH), National Library of Medicine's vocabulary for indexing MEDLINE. While manually comparing indexing methods is manageable with a limited number of MeSH headings, a large number of them make automation of this selection desirable. Results show that this process can be automated, based on previously indexed MEDLINE citations. We find that AdaBoostM1 is better suited to index a group of MeSH hedings named Check Tags, and helps improve the micro F-measure from 0.5385 to 0.7157, and the macro F-measure from 0.4123 to 0.5387 (both p < 0.01).

Bisphosphonate Use Does Not Impact Survival in Patients with Pancreatic Cancer: A Propensity Score Matching Analysis

( Haley M. Zylberberg ),( Sheila D. Rustgi ),( Anthony Yang ),( Anne Aronson ),( Elizabeth Kessel ),( Sunil Amin ),( Aimee L. Lucas ) 대한간학회 2021 Gut and Liver Vol.15 No.5

Background/Aims: Bisphosphonates are increasingly recognized for their anti-neoplastic properties, which are the result of their action on the mevalonate pathway. Our primary aim was to investigate the association between bisphosphonate use and survival in patients with pancreatic cancer. Since statins also act on the mevalonate pathway, we also investigated the effect of the combined use of bisphosphonates and statins on survival. Methods: The Surveillance, Epidemiology, and End Results registry (SEER)-Medicare linked database was used to identify patients with pancreatic ductal adenocarcinoma (PDAC) between 2007 and 2015. Kaplan-Meier models were used to examine the association between survival with bisphosphonate use alone and in combination with statins within 1 year prior to the diagnosis of PDAC. Propensity score matching analysis and Cox-proportional hazard models were used to determine the association between overall survival with bisphosphonate use alone and combined with statins, after adjusting for relevant confounders, such as the Charlson comorbidity index score, stage, treatment, sociodemographic characteristics, and propensity score. Results: In total, 13,639 patients with PDAC were identified, and 1,203 (8.82%) used bisphosphonates. There was no difference in the mean survival duration between bisphosphonate users (7.27 months) and nonusers (7.25 months, p=0.61). After adjustment for confounders, bisphosphonate use was still not associated with improved survival (hazard ratio, 1.00; 95% confidence interval, 0.93 to 1.08; p=0.96). Combined bisphosphonate and statin use was also not associated with improved survival (hazard ratio, 0.97; 95% confidence interval, 0.87 to 1.07; p=0.48) after adjustment for confounders. Conclusions: Our findings suggest that the use of bisphosphonates, whether alone or in combination with statins, does not confer a survival advantage in patients with PDAC. (Gut Liver 2021;15:782-790)

Electrical detection of germination of viable model <i>Bacillus anthracis</i> spores in microfluidic biochips

Liu, Yi-Shao,Walter, T. M.,Chang, Woo-Jin,Lim, Kwan-Seop,Yang, Liju,Lee, S. W.,Aronson, A.,Bashir, R. Royal Society of Chemistry 2007 Lab on a chip Vol.7 No.5

<P>In this paper, we present a new impedance-based method to detect viable spores by electrically detecting their germination in real time within microfluidic biochips. We used <I>Bacillus anthracis</I> Sterne spores as the model organism. During germination, the spores release polar and ionic chemicals, such as dipicolinic acid (DPA), calcium ions, phosphate ions, and amino acids, which correspondingly increase the electrical conductivity of the medium in which the spores are suspended. We first present macro-scale measurements demonstrating that the germination of spores can be electrically detected at a concentration of 10<SUP>9</SUP> spores ml<SUP>−1</SUP> in sample volumes of 5 ml, by monitoring changes in the solution conductivity. Germination was induced by introducing an optimized germinant solution consisting of 10 mM <SMALL>L</SMALL>-alanine and 2 mM inosine. We then translated these results to a micro-fluidic biochip, which was a three-layer device: one layer of polydimethylsiloxane (PDMS) with valves, a second layer of PDMS with micro-fluidic channels and chambers, and the third layer with metal electrodes deposited on a pyrex substrate. Dielectrophoresis (DEP) was used to trap and concentrate the spores at the electrodes with greater than 90% efficiency, at a solution flow rate of 0.2 μl min<SUP>−1</SUP> with concentration factors between 107–109 spores ml<SUP>−1</SUP>, from sample volumes of 1–5 μl. The spores were captured by DEP in deionized water within 1 min (total volume used ranged from 0.02 μl to 0.2 μl), and then germinant solution was introduced to the flow stream. The detection sensitivity was demonstrated to be as low as about a hundred spores in 0.1 nl, which is equivalent to a macroscale detection limit of approximately 10<SUP>9</SUP> spores ml<SUP>−1</SUP>. We believe that this is the first demonstration of this application in microfluidic and BioMEMS devices.</P> <P>Graphic Abstract</P><P>We present an impedance based electrical method to detect germination of viable spores in microfluidic devices. <IMG SRC='http://pubs.rsc.org/services/images/RSCpubs.ePlatform.Service.FreeContent.ImageService.svc/ImageService/image/GA?id=b702408h'> </P>

Measurement of single muons at forward rapidity inp+pcollisions ats=200 GeVand implications for charm production

Adler, S. S.,Afanasiev, S.,Aidala, C.,Ajitanand, N. N.,Akiba, Y.,Alexander, J.,Amirikas, R.,Aphecetche, L.,Aronson, S. H.,Averbeck, R.,Awes, T. C.,Azmoun, R.,Babintsev, V.,Baldisseri, A.,Barish, K. N. American Physical Society 2007 PHYSICAL REVIEW D - Vol.76 No.9