A research on copyright issues impacting artists emotional states in the framework of artificial intelligence.

Art and artistic creation serve as a means for artists to communicate with their environment, society, and the external world. However, the protection of artistic creations, as forms of communication, is not only a right for artists but also serves as a crucial safeguard that nurtures them during the creative process. Beyond the traditional issues of copyright, the significant advancements in Artificial Intelligence (AI) in today's digital world have introduced a new debate regarding the ownership of copyright in artistic creations generated by AI. The question arises whether copyright belongs to the AI itself or to the individuals who guide the creative process behind it. In this study, based on the concepts of art, artistic creation, and emotional states, copyright issues will be examined. Data obtained from semi-structured in-depth interviews with artists and academic experts (eight artists, two communication experts, two law experts, and eight psychology experts) in the field will be analysed through content analysis to explore their perspectives regarding the discussion on emotional states, AI, and copyrights. The research highlights the variability of emotional states and their significant effects on individuals. Addressing the increasing trend of copyright issues, particularly within the framework of digitalization and inadequate legal regulations, it was found that artists' emotional states are negatively impacted by these problems. This negative influence can adversely affect artists' creativity and desire to produce. On the other hand, it was also identified that in artworks produced especially through AI, if artists' rights are not protected, there is a possibility of negative emotional states arising. In conclusion, suggestions are as follows: Emphasising the importance of awareness-raising educational activities nationally and internationally, national copyright law (in Northern Cyprus) needs to be revised to protect traditional copyright and be expanded to include digital copyright, especially for works produced through AI. On an international level, emphasising the need to revise international agreements to include regulations for works produced through AI or to create a new agreement based on the importance of this issue.

Preliminary investigations into the use of the ancient pigments Han blue and Han purple as luminescent dusting powders for the detection of latent fingermarks.

Here we present our preliminary studies into the inorganic pigments Han blue (BaCuSi4O10) and Han purple (BaCuSi2O6) as near-infrared luminescent fingerprint dusting powders. These pigments were developed in ancient China around 800 BCE and both show luminescence in the NIR region. There remains, however, ambiguity in the literature concerning their photophysical properties. Samples of Han blue and Han purple artist's pigments were characterized by optical microscopy, infrared, ultraviolet-visible absorbance and luminescence spectroscopy. Their performance as fingerprint dusting powders, without any further treatment, on non-porous surfaces were compared to exfoliated lipophilic coated Egyptian blue and commercial fluorescent powders in a pilot study. These results demonstrate for the first time that both ancient pigments show promise as alternative dusting powders for latent fingermarks.

Art on the skin, lifesaving within: Exploring the role of tattoo artists in suicide prevention.

Different populations experience suicide at different rates. Some studies have found an increased risk of suicide among individuals with tattoos. Studies indicate a higher prevalence of mental health disorders among individuals with one or more tattoos. These findings signal a need to explore suicide prevention in tattoo shops. The aim of this project is to determine the feasibility, acceptability, and interest of providing education on suicide prevention among tattoo artists. We conducted a cross-sectional survey with tattoo artists. Survey items assessed artists' experiences with clients expressing mental health issues or suicidal thoughts, their comfort level assisting clients, and general perceptions around suicide and stigma. Seventy-nine surveys were collected. Most artists reported that they have had at least one situation in which a client mentioned something that made them concerned about that client's mental health. Most respondents reported that a client has expressed suicidal thoughts to them at least once. Our study demonstrated that tattoo artists encounter clients who express mental health challenges as well as suicidal ideation, underscoring the potential role for tattoo artists in supporting individuals at risk for suicidal thoughts and behaviors.

Health Problems of Professional Ballet Dancers: an Analysis of 1627 Weekly Self-Reports on Injuries, Illnesses and Mental Health Problems During One Season.

BACKGROUND: Several studies have investigated injuries of (pre-)professional ballet dancers, however most used a medical-attention and/or time-loss definition and did not analyse the prevalence of all health problems. The aim was to analyse the frequency and characteristics of all self-reported physical and mental health complaints (i.e. injuries, illnesses and mental health problems) of professional ballet dancers during one season. METHODS: Three professional ballet companies were prospectively monitored weekly during one season with the Performing artist and Athlete Health Monitor (PAHM). Numerical rating scales (ranging 0-10) were used for severity of musculoskeletal pain, all health problems and impairment of the ability to dance at full potential in the previous seven days. If dancers rated the severity of their health problems or their impairment greater than 0, they were asked to answer specific questions on the characteristics of each health problem. RESULTS: Over a period of 44 weeks, 57 dancers (57.9% female) filled in 1627 weekly reports (response rate of 64.9%), in which 1020 (62.7%) health problem were registered. The dancers reported musculoskeletal pain in 82.2% of the weeks. They felt that their ability to dance at their full potential was affected due to a health problem in about every second week (52.6%) or on at least 29.1% of the days documented in the weekly reports. Almost all dancers (96.5%) reported at least one injury, almost two thirds (64.9%) an illness and more than a quarter (28.1%) a mental health problem. On average, every dancer reported 5.6 health problems during the season. Most of the 320 health problems were injuries (73.1%), 16.9% illnesses and 10.0% mental health problems. Injuries affected mainly ankle, thigh, foot, and lower back and were mostly incurred during rehearsal (41.6%) or training (26.1%). The most frequent subjective reasons of injury were "too much workload" (35.3%), "tiredness/exhaustion" (n = 22.4%) and "stress/overload/insufficient regeneration" (n = 21.6%). CONCLUSION: Preventive interventions are urgently required to reduce the prevalence of health problems and especially injuries of professional dancers. Injury prevention measures should regard the balance of the load capacity of professional dancers and the workload in training, rehearsals and performances.

Visual free recall and recognition in art students and laypeople.

Artists and laypeople differ in their ability to create drawings. Previous research has shown that artists have improved memory performance during drawing; however, it is unclear whether they have better visual memory after the drawing is finished. In this paper, we focused on the question of differences in visual memory between art students and the general population in two studies. In Study 1, both groups studied a set of images and later drew them in a surprise visual recall test. In Study 2, the drawings from Study 1 were evaluated by a different set of raters based on their drawing quality and similarity to the original image to link drawing evaluations with memory performance for both groups. We found that both groups showed comparable visual recognition memory performance; however, the artist group showed increased recall memory performance. Moreover, they produced drawings that were both better quality and more similar to the original image. Individually, participants whose drawings were rated as better showed higher recognition accuracy. Results from Study 2 also have practical implications for the usage of drawing as a tool for measuring free recall - the majority of the drawings were recognizable, and raters showed a high level of consistency during their evaluation of the drawings. Taken together, we found that artists have better visual recall memory than laypeople.

Comparing assessment methods of low back pain related disability in student circus artists: A cross-sectional study.

BACKGROUND: Student circus artists put constant stress on their back. However, the presence of low back pain (LBP) and related disability in this population remains unclear. OBJECTIVES: To 1) examine LBP history in circus artists and compare related disability scores using the Oswestry Disability Index (ODI) and the Athlete Disability Index (ADI), and 2) examine the correlation between LBP-related disability scores, pain intensity and pain catastrophizing. METHODS: Thirty-three circus students completed an online survey on demographics, training history, and LBP. Participants reporting LBP filled the ODI, ADI, numerical pain rating scale (NPRS), and Pain Catastrophizing Scale (PCS). Descriptive statistics and Pearson's correlation coefficients were used to assess the correlations between the ODI, ADI, NPRS, and PCS. RESULTS: There was a significant positive correlation between the ODI and ADI (r= 0.77, p< 0.001) and between the NPRS and ADI (r= 0.52, p= 0.03), but no correlation between NPRS and ODI. While the PCS scores were significantly correlated with the NPRS ((r= 0.71; p< 0.001) and the ADI (r= 0.51; p= 0.032), no correlation was observed between the PCS and ODI scores (p= 0.088). Based on the ODI scores, 94.44% of the artists reporting LBP were classified with mild disability, 5.56% moderate, and 0% severe disability as compared to 66.67%, 27.78% and 5.55% with the ADI, respectively. CONCLUSION: Our study highlights the potential of the ADI as an effective tool for assessing LBP-related disability in circus artists, supported by a strong correlation with the NPRS.

Instilling liveliness: archives of neo-avant-garde art as sites of activation.

Artists' archives, typically a legacy trove rather than a site for public engagement, are not expected to encompass art. However, since the mid-twentieth century, factors like the 'dematerialisation of art', defiance against conventional art categorisations, and the prioritisation of the creative process over its outcomes, have all blurred the lines between artworks and their documentation. Consequently, a significant portion of art produced during the 1960s and 1970s still resides in archives, distributed in art objects and documents. By examining the archives of Ecart, an artistic collective that operated within the broader Fluxus network in 1970s Switzerland, this study proposes activation as an alternative strategy for caring for and securing the continuation of such art, which is often found scattered across various archival holdings. Ultimately, the research suggests activation as a way of expanding conservation beyond the exclusive domain of trained conservators, transforming it into a collective responsibility shared by diverse archive stakeholders.

"Infundiendo vitalidad: Los archivos de arte neo-vanguardista como lugares de activación"No cabe esperar que los archivos de los artistas, que suelen ser un tesoro de legados más que un lugar de participación pública, incluyan arte. Sin embargo, desde mediados del siglo XX, factores como la 'desmaterialización del arte', el desafío a las categorizaciones artísticas convencionales y la priorización del proceso creativo sobre sus resultados, han difuminado las fronteras entre las obras de arte y su documentación. Por consiguiente, una parte significativa del arte producido durante las décadas de 1960 y 1970 aún reside en archivos, distribuida en objetos artísticos y documentos. Examinando los archivos de Ecart, un colectivo artístico que operaba dentro de la red Fluxus en la Suiza de los setenta, este estudio propone el proceso de activación como una estrategia alternativa para preservar y garantizar la continuidad de este tipo de arte, el cual a menudo se encuentra disperso entre diversos archivos. Finalmente, la investigación sugiere el proceso de activación como una forma de expandir la conservación más allá de la esfera exclusiva de los conservadores cualificados, transformándola en una responsabilidad colectiva compartida por diversas partes interesadas en los archivos.

"Instilando vivacidade: Arquivos de arte neo-avant-garde como espaços de ativação"Arquivos de artistas, tipicamente mais um tesouro herdado do que um local para envolvimento de público, não se espera que englobem arte. Entretanto, desde meados do século vinte, fatores como a 'desmaterialização da arte', o desafio às categorizações convencionais de arte e a priorização do processo criativo sobre seus resultados, todos têm embaçado as fronteiras entre obras de arte e a sua documentação. Consequentemente, uma porção significativa da arte produzida durante os anos sessenta e setenta ainda permanece em arquivos, distribuídos em objetos de arte e documentos. Ao examinar os arquivos do Ecart, um coletivo artístico que atuou no âmbito mais amplo da rede do Fluxus na Suíça dos anos setenta, este estudo propõe ativação como uma estratégia alternativa para cuidar e assegurar a continuidade de tal arte, que frequentemente é encontrada dispersa por vários fundos arquivísticos. Finalmente, a pesquisa sugere a ativação como uma forma de expandir a conservação além do domínio exclusivo de conservadores capacitados, transformando-a em uma responsabilidade coletiva compartilhada entre os diversos parceiros do meio arquivístico.

A Survey on Knowledge, Attitude & Practice of Yakshagana Mela Artists Towards Music-Induced Hearing Loss.

Purpose: Yakshagana is a type of folk-art theatre portraying mythological and historical stories. It includes artists who play predominantly percussion instruments besides cymbals and harmonium. Professional musicians exposing themselves to deafening sounds are prone to develop noise-induced complications. [1] One such professional in the coastal districts of Karnataka state is a Yakshagana himmela (backstage) artist. There is no reported literature concerning these artists' hearing health and problems. Hence, the proposed study was aimed at developing, validating and assessing the Knowledge, Attitude and Practice (KAP )of Yakshagana Mela artists towards Music-Induced Hearing Loss (MIHL), a possible risk factor of their profession. Method: This study was carried out on 139 yakshagana mela artists with a mean age of 41.63 years. It was conducted in two phases. In the first phase, an expert committee discussion was conducted to verify, modify and validate the questionnaire. The second phase included the administration of the developed questionnaire on the artists. Results: The sum scores for each domain of KAP were computed. Scores above 80% were defined as good knowledge, practice, and a positive attitude. The findings of the study revealed that more than half of the participants demonstrated inadequate knowledge (63.3%) and negative attitude (63.7%), but a fair level of practice (65.4%). Conclusion: From the outcome of the present study, it can be inferred that in spite of being in a profession with a high risk of MIHL, the participants considered hearing health as their least priority. The study illustrates the need for initiating hearing and conservation programs to improve awareness & combat music induced hearing loss in this population.

Are visual artists better visual perspective takers? An exploratory study with an unexpected outcome.

Visual perspective taking (VPT) has been argued to elicit image-like representations of other people's visual experiences. Separately, it has been demonstrated that there are inter-individual differences in the ability to successfully take other people's visual perspectives. In the present study, adults were asked to judge how long two lines appeared visually from the point of view of an agent. The lines were of identical length, but the agent was always closer to one of the lines than the other, meaning that the closer line should be judged as appearing visually longer. It was hypothesised that adults with experience in the visual arts would perform better at this task for one or both of two reasons: (1) they should be more familiar with the knowledge that the closer an object is the larger it appears visually (i.e., the retinal image is larger), and (2) they might be able to "draw" an image-like representation that more accurately reflects the effect of distance on perceived size. Consistent with previous experiments with this paradigm, adults generally failed to judge the closest line as appearing longer; indeed, as many judged this line would appear visually shorter. Crucially, increasing experience in the visual arts failed to improve the accuracy of VPT judgements; even a group of professional illustrators failed to recognise that the line closest to the agent would appear longer than the line furthest from the agent. These results are discussed in the context of the processes and representation types potentially involved in VPT.

Using Ripple Effects Mapping to understand the longer-term impacts of delivering a dance programme for older adults on dance artists.

BACKGROUND: The dance workforce plays a central role in delivering arts and health programmes yet there is little exploration of how programme delivery impacts dance artists in a professional or personal capacity. This study explored the experiences of dance artists delivering Dance On, which engages inactive older people 55yrs+. METHODS: Ripple Effects Mapping was used to explore the short- and long term experiences and practices of dance artists delivering a dance programme. FINDINGS: Two ripples were developed 1) Becoming a specialist 2) Connecting with communities. These ripples highlighted the strengths of the sustained nature of the programme and emphasised the need for ongoing support from employing organisations, communities, and dance artist peers. CONCLUSION: This study showcases the central role dance artists play in upholding the outcomes we observe in arts and health work - their role, expertise, and commitment to programmes should be further illuminated and supported through ongoing discourse about their practice.

Do Subjects from Different Occupational Groups Experience Dental Fear and Anxiety Equally?

Background and Objectives: Research into the relationship between occupation and dental fear and anxiety (DFA) is scarce. This exploratory study aimed to compare the level of DFA and its association with its predictors amongst adults from different occupational groups. Materials and Methods: A cross-sectional study with 422 respondents from four occupational groups (physicians, teachers, industry workers, and artists) was carried out. A questionnaire on previous dental experience using the Dental Anxiety Scale (DAS), Dental Fear Survey (DFS), and Self-Esteem Scale was self-administered electronically. The data analysis involved descriptive statistics and structural equation modeling (SEM). Results: The DFA levels differed significantly across the occupational groups, with the lowest mean scores among physicians (DAS = 9.29 (SE 0.39); DFS-1 = 14.67 (0.63); DFS-2 = 33.94 (1.69)) and the highest mean scores among artists (DAS = 10.74 (0.38); DFS-1 = 17.19 (0.71); DFS-2 = 41.34 (1.92)). A significant impact of self-esteem on DFA was observed among physicians, teachers, and artists, but not among industry workers. Multi-group analysis with SEM revealed differences in the variable association (Chi-squared = 53.75; df = 21; p < 0.001), thus rejecting the hypothesis of the same mechanism underlying DFA across occupational groups. Conclusions: Individuals from various occupations experience DFA at different levels, and there are different mechanisms underlying their DFA. These findings can provide valuable insights for dental practitioners in developing tailored approaches to reduce the feeling of DFA of their patients.

The lure of the foreign stage: Chronicles of Italian mobility to France in the long eighteenth century.

This article investigates the migration of three Italian-born artists working in France in the field of ephemeral entertainment and argues that their stories were part of a broader process of cultural history and artistic mobility of the long eighteenth century. These artists are the firework makers Ruggieri brothers, the circus performer Antonio Franconi and his family and the stage designer Ignazio Degotti. They left their home country at different points (1730s, 1750s and 1790 respectively), settling in Paris under different socio-political circumstances. Due to the immaterial and contingent medium in which these artists chose to work, which is difficult to replicate and collect, the mobility of these artists has often remained a neglected story. To explore the reasons why these artists moved from their home country and the motivation that convinced them to stay in France, this research combines an attentive examination of archival material with a methodology influenced by methods of cultural history. The paper argues that their lives and their artistic expertise were not only aesthetically relevant, but also very much integrated within the defined social and cultural context they chose to live in.

Left-hand preference in visual artists: A pre-registered observational study on Instagram.

The notion of an increased incidence of left handers among architects and visual artists has inspired both scientific theory building and popular discussion. However, a systematic exploration of the available publications provides, at best, modest evidence for this claim. The present preregistered observational study was designed to reinvestigate the postulated association by examining hand preference of visual artists who share their artistic activities as short video clips ("reels") on the social media platform Instagram. Determining individual hand preference based on five reels for each of N = 468 artists, we identified 42 (8.97%) left handers, suggesting an incidence which is below but statistical comparable to the 10.6% expected for the general population (χ2 = 1.30; p = .25; Cohen's w = 0.05). Also, we did not find any support for the notion that the art created by left-handed artists is of higher quality than art of right handers, as no difference in public endorsement or interest were observed (reflected by the number of likes per post or account followers). Taken together, we do not find any support for difference in artistic engagement or quality between left and right handers.

Exploring the art and experiences of painters with epilepsy / Explorando a arte e as experiências de pintores com epilepsia

This narrative review addresses the world of artists who linked their creative journeys alongside their battles with epilepsy, a neurological condition engineered by recurrent epileptic seizures, with multifaceted implications in biopsychosocial domains. By examining the lives and works of celebrated artists such as Vincent Van Gogh and contemporary painters, particularly those possibly affected by epilepsy, a narrative transcends clinical elucidations, investigating historical contexts, artistic expressions, and therapeutic interventions. The focus is on uncovering the transformative influence of engaging in artistic activities for individuals struggling with epilepsy. It investigates the profound impact of artistic pursuits on people affected by epilepsy, showing the resilience of the human spirit in harnessing adversity as a source of creativity. This exploration illuminates the potential of art, not only as a means of self-expression, but also as a therapeutic medium in the setting of epilepsy and associated neurorehabilitation.

Esta revisão narrativa aborda o mundo dos artistas que associaram as suas jornadas criativas paralelamente às suas batalhas contra a epilepsia, uma condição neurológica caracterizada por ataques epilépticos recorrentes, com implicações multifacetadas em domínios biopsicossociais. Ao examinar as vidas e obras de artistas célebres como Vincent Van Gogh e pintores contemporâneos, particularmente aqueles possivelmente afetados pela epilepsia, a narrativa transcende as elucidações clínicas, investigando contextos históricos, expressão artística e intervenções terapêuticas. O foco está em desvendar a influência transformadora do envolvimento em atividades artísticas para indivíduos que lutam contra a epilepsia. Ele investiga o profundo impacto das atividades artísticas nas pessoas afetadas pela epilepsia, mostrando a resiliência do espírito humano ao aproveitar a adversidade como uma fonte de criatividade. Esta exploração ilumina o potencial da arte, não apenas como meio de autoexpressão, mas também como meio terapêutico no cenário da epilepsia e da neurorreabilitação associada.

Intervención fonoaudiológica en artistas: hacia una mirada completa de intervención vocal / Voice Therapy Intervention on artists: towards a complete look at vocal intervention

Hoy en día el conocimiento avanza a pasos agigantados. Cada vez hay más fonoau-diólogos en diversas áreas de la profesión. Llama la atención de muchos el área ar-tística, pues es un área poco explorada y amplia. Este artículo tiene el objetivo de reflexionar sobre la intervención vocal en artistas (cantantes, actores y otros). Su im-plementación debe comprender una mirada completa de la persona: voz, fisiología, fisiopatología, emociones, rol, aspectos médicos, farmacológicos y características in-dividuales. Esto promueve la adherencia de un profesional de la voz a su área de conocimiento y genera un espacio de sanidad, exploración y libertad artística en términos actuales, incluso en medio de una pandemia

Nowadays the knowledge is advancing by leaps and bounds. The number of Speech Pathologists in different areas of the profession has increased. The artistic area calls the attention of many, because it is a hardly explored and wide area. This article aims to reflect on vocal intervention on artists (singers, actors and others). Its imple-mentation should include a thorough overview of the person: voice, physiology, phy-siopathology, emotions, role, medical and pharmacological aspects and individual characteristics. This promotes the adhesion of a voice professional to their area of its own knowledge, thus allowing a space for healing, exploration and artistic freedom in current terms, even in the midst of a pandemic

Exercícios etnográficos como atividades em espaço público: Terapia Ocupacional Social no fazer da arte, da cultura e da política / Ethnographic exercises as activities in public space: Social Occupational Therapy in art, culture and politics

Discutem-se os exercícios etnográficos − realizados em propostas do Projeto Metuia/USP, entre 2007 e 2013 − como atividade capaz de potencializar o reconhecimento do saber composto, plural e, por vezes, contraditório, mas produzido criativamente no fazer intelectual e social, na interação entre estudantes, terapeutas ocupacionais, pesquisadores e pessoas em situação de rua. Parte-se da necessidade de se desenvolver a compreensão sobre as atividades significativas de artistas que trabalham nos espaços públicos da cidade de São Paulo, pois persiste uma pluralidade de significados que a rua adquire em meio a disputas de interesses e tensões culturais, mas, também, de interconexões e criatividade. A vida itinerante e as características dos espaços de sociabilidade, aliadas às reflexões da antropologia urbana e da pesquisa etnográfica, favoreceram o ensino teórico-prático em ações territoriais dialógicas da terapia ocupacional social. Este artigo é resultado de reflexões construídas a partir da pesquisa Circuitos e práticas religiosas nas trajetórias de vida de adultos em situação de rua na cidade de São Paulo, associado ao projeto de extensão universitária vinculada ao Projeto Metuia/Terapia Ocupacional/USP, denominado Ponto de encontro e cultura: redes sociais, cultura e terapia ocupacional social. Conclui-se, por um lado, que há necessidade da reflexão renovada sobre o lugar do terapeuta ocupacional, considerando as assimetrias das relações na construção do conhecimento. Por outro lado, indica-se que as atividades produzidas em relações dialógicas adquirem sentidos partilhados apenas quando desenhadas na experiência da diferença, em propostas coerentes com sua plasticidade própria e no bojo de contextos sociais e culturais específicos.

Ethnographic exercises are discussed - as proposed by the Metuia Project/ USP between 2007 and 2013 - as an activity able to enhance the recognition of the compound, plural and sometimes contradictory knowledge, but produced creatively in the intellectual and social do, in the interaction among students, occupational therapists, researchers and homeless people. It starts from the need to develop an understanding of the significant activities of artists working in the public spaces in São Paulo, as it persists as a plurality of meanings that the street acquires amid disputes of interests and cultural tensions, but also interconnections and creativity. The itinerant life and social areas' characteristics, combined with reflections of urban anthropology and ethnographic research favored the theoretical and practical teaching in dialogic territorial shares of social occupational therapy. This article is the result of reflections built from the research Circuits and religious practices in life trajectories of adult homeless people in city of São Paulo, associated with university extension project linked to Metuia Project/USP, called Point meeting and culture: social networks, culture and social occupational therapy. In conclusion, on the one hand, there is need for renewed reflection about the occupational therapist's place, considering the asymmetries of the relations in the construction of knowledge. On the other hand, it indicates that the produced activities, necessarily, in dialogical relations, only share meanings when inserted into the experience of the difference in consistent proposals with its own plasticity and in the middle of specific social and cultural contexts.