The surprise element: A hallmark of creativity in scientists, artists, and comedians.

Truly creative works of science and art produce unexpected and surprising results-just like the punch line of a good joke that generates an unfamiliar twist on a familiar idea. Surprise stimulates curiosity, which triggers a search to reveal the mystery of things unknown.

Seurat's Dots: A Shot Heard 'Round the Art World-Fired by an Artist, Inspired by a Scientist.

The iconic phrase "a shot heard 'round the world" signifies an exceptional event. Seurat's masterpiece La Grande Jatte, painted with many thousand dots of color, came as a shot to the art world-a shot fired by the imagination of the artist and inspired by the color theories of a scientist.

Earliest hunting scene in prehistoric art.

Humans seem to have an adaptive predisposition for inventing, telling and consuming stories1. Prehistoric cave art provides the most direct insight that we have into the earliest storytelling2-5, in the form of narrative compositions or 'scenes'2,5 that feature clear figurative depictions of sets of figures in spatial proximity to each other, and from which one can infer actions taking place among the figures5. The Upper Palaeolithic cave art of Europe hosts the oldest previously known images of humans and animals interacting in recognizable scenes2,5, and of therianthropes6,7-abstract beings that combine qualities of both people and animals, and which arguably communicated narrative fiction of some kind (folklore, religious myths, spiritual beliefs and so on). In this record of creative expression (spanning from about 40 thousand years ago (ka) until the beginning of the Holocene epoch at around 10 ka), scenes in cave art are generally rare and chronologically late (dating to about 21-14 ka)7, and clear representations of therianthropes are uncommon6-the oldest such image is a carved figurine from Germany of a human with a feline head (dated to about 40-39 ka)8. Here we describe an elaborate rock art panel from the limestone cave of Leang Bulu' Sipong 4 (Sulawesi, Indonesia) that portrays several figures that appear to represent therianthropes hunting wild pigs and dwarf bovids; this painting has been dated to at least 43.9 ka on the basis of uranium-series analysis of overlying speleothems. This hunting scene is-to our knowledge-currently the oldest pictorial record of storytelling and the earliest figurative artwork in the world.

Medical findings and congenital anomalies in Vermeer's paintings.

The 17th century was a time of scientific discovery in Europe. Leading academic centers provided the general population with an opportunity to view anatomic dissections of human bodies. Rather than portray idealized versions of individuals, Dutch painters were committed to accurately representing their models. This was true for Johannes Vermeer. The 2023 exhibition of Vermeer's paintings at the Rijksmuseum in Amsterdam provided an unprecedented opportunity to observe 28 of his 37 existing paintings simultaneously in person. Here the authors suggest that in at least eight paintings a visibly pregnant woman is present. Vermeer's wife was pregnant or lactating most of the time during their 22-year marriage. Further, evidence of specific medical findings and congenital anomalies such as polydactyly, ectrodactyly, alopecia, kyphosis, and hyperthyroidism were observed in the paintings. These have not been previously reported in the medical or art history literature.

Palaeolithic cave art in Borneo.

Figurative cave paintings from the Indonesian island of Sulawesi date to at least 35,000 years ago (ka) and hand-stencil art from the same region has a minimum date of 40 ka1. Here we show that similar rock art was created during essentially the same time period on the adjacent island of Borneo. Uranium-series analysis of calcium carbonate deposits that overlie a large reddish-orange figurative painting of an animal at Lubang Jeriji Saléh-a limestone cave in East Kalimantan, Indonesian Borneo-yielded a minimum date of 40 ka, which to our knowledge is currently the oldest date for figurative artwork from anywhere in the world. In addition, two reddish-orange-coloured hand stencils from the same site each yielded a minimum uranium-series date of 37.2 ka, and a third hand stencil of the same hue has a maximum date of 51.8 ka. We also obtained uranium-series determinations for cave art motifs from Lubang Jeriji Saléh and three other East Kalimantan karst caves, which enable us to constrain the chronology of a distinct younger phase of Pleistocene rock art production in this region. Dark-purple hand stencils, some of which are decorated with intricate motifs, date to about 21-20 ka and a rare Pleistocene depiction of a human figure-also coloured dark purple-has a minimum date of 13.6 ka. Our findings show that cave painting appeared in eastern Borneo between 52 and 40 ka and that a new style of parietal art arose during the Last Glacial Maximum. It is now evident that a major Palaeolithic cave art province existed in the eastern extremity of continental Eurasia and in adjacent Wallacea from at least 40 ka until the Last Glacial Maximum, which has implications for understanding how early rock art traditions emerged, developed and spread in Pleistocene Southeast Asia and further afield.

A depiction of poliomyelitis in a 17th -century Piedmontese fresco?

INTRODUCTION: A potential representation of poliomyelitis is investigated in an Italian artwork. MATERIALS AND METHODS: A 17th century Piedmontese fresco is analyzed by combining historico-medical, palaeopathological and clinical approaches. Alternative diagnoses are considered. RESULTS, DISCUSSION AND CONCLUSIONS: The man appearing in the fresco holding a crutch is characterized by an atrophic left leg reminiscent of poliomyelitic atrophic. Other congenital anomalies or cerebrovascular causes appear less likely. A reflection on the difficulty of retrospectively diagnosis poliomyelitis is offered.

The art of resilience: a psychobiography of Frida Kahlo.

This psychobiography of Frida Kahlo explores the psychology of the famous Mexican artist. Drawing upon Kahlo's paintings and diary entries, a rich psychological analysis of the feminist icon is juxtaposed with the zeitgeist of 20th century Mexico. Framed through the theoretical model of feminist psychology, Kahlo's role in promoting gender equality and dismantling patriarchal society is discussed. Physical pain resulting from illness and impalement by a metal pole in a trolley accident was matched, if not exceeded, by the psychological pain the artist felt due to resulting issues with fertility and the long-sought but never-realized role of motherhood, infidelity within her marriage, and the eventual loss of her ability to paint. Nevertheless, Kahlo's perseverance and strength led to worldwide recognition of her bold and vibrant paintings, vulnerably depicting her rich inner world. The present study utilises perspectives from art therapy and attachment theory to elucidate the factors contributing to Frida Kahlo's resilience in the face of lifelong trauma and chronic pain. Ultimately, Kahlo's life and work offer valuable insight into the psychological experiences of women in patriarchal societies, emphasising the importance of feminist perspectives in psychological research and highlighting the healing and resilience-promoting role of art.

Vagueness and volume: Testing the perception of depth in images with linear, sharp, or blurred contours.

In European painting, a transition took place where artists started to consciously introduce blurred or soft contours in their works. There may have been several reasons for this. One suggestion in art historical literature is that this may have been done to create a stronger sense of volume in the depicted figures or objects. Here we describe four experiments in which we tried to test whether soft or blurred contours do indeed enhance a sense volume or depth. In the first three experiments, we found that, for both paintings and abstract shapes, three dimensionality was actually decreased instead of increased for blurred (and line) contours, in comparison with sharp contours. In the last experiment, we controlled for the position of the blur (on the lit or dark side) and found that blur on the lit side evoked a stronger impression of three dimensionality. Overall, the experiments robustly show that an art historical conjecture that a blurred contour increases three dimensionality is not granted. Because the blurred contours can be found in many established art works such as from Leonardo and Vermeer, there must be other rationales behind this use than the creation of a stronger sense of volume or depth.

Time-of-day perception in paintings.

The spectral shape, irradiance, direction, and diffuseness of daylight vary regularly throughout the day. The variations in illumination and their effect on the light reflected from objects may in turn provide visual information as to the time of day. We suggest that artists' color choices for paintings of outdoor scenes might convey this information and that therefore the time of day might be decoded from the colors of paintings. Here we investigate whether human viewers' estimates of the depicted time of day in paintings correlate with their image statistics, specifically chromaticity and luminance variations. We tested time-of-day perception in 17th- to 20th-century Western European paintings via two online rating experiments. In Experiment 1, viewers' ratings from seven time choices varied significantly and largely consistently across paintings but with some ambiguity between morning and evening depictions. Analysis of the relationship between image statistics and ratings revealed correlations with the perceived time of day: higher "morningness" ratings associated with higher brightness, contrast, and saturation and darker yellow/brighter blue hues; "eveningness" with lower brightness, contrast, and saturation and darker blue/brighter yellow hues. Multiple linear regressions of extracted principal components yielded a predictive model that explained 76% of the variance in time-of-day perception. In Experiment 2, viewers rated paintings as morning or evening only; rating distributions differed significantly across paintings, and image statistics predicted people's perceptions. These results suggest that artists used different color palettes and patterns to depict different times of day, and the human visual system holds consistent assumptions about the variation of natural light depicted in paintings.

Why did Rubens add a parrot to Titian's The Fall of Man? A pictorial manipulation of joint attention.

Almost 400 years ago, Rubens copied Titian's The Fall of Man, albeit with important changes. Rubens altered Titian's original composition in numerous ways, including by changing the gaze directions of the depicted characters and adding a striking red parrot to the painting. Here, we quantify the impact of Rubens's choices on the viewer's gaze behavior. We displayed digital copies of Rubens's and Titian's artworks-as well as a version of Rubens's painting with the parrot digitally removed-on a computer screen while recording the eye movements produced by observers during free visual exploration of each image. To assess the effects of Rubens's changes to Titian's composition, we directly compared multiple gaze parameters across the different images. We found that participants gazed at Eve's face more frequently in Rubens's painting than in Titian's. In addition, gaze positions were more tightly focused for the former than for the latter, consistent with different allocations of viewer interest. We also investigated how gaze fixation on Eve's face affected the perceptual visibility of the parrot in Rubens's composition and how the parrot's presence versus its absence impacted gaze dynamics. Taken together, our results demonstrate that Rubens's critical deviations from Titian's painting have powerful effects on viewers' oculomotor behavior.

The color of fruits in photographs and still life paintings.

Still life paintings comprise a wealth of data on visual perception. Prior work has shown that the color statistics of objects show a marked bias for warm colors. Here, we ask about the relative chromatic contrast of these object-associated colors compared with background colors in still life paintings. We reasoned that, owing to the memory color effect, where the color of familiar objects is perceived more saturated, warm colors will be relatively more saturated than cool colors in still life paintings as compared with photographs. We analyzed color in 108 slides of still life paintings of fruit from the teaching slide collection of the Fogg University Art Museum and 41 color-calibrated photographs of fruit from the McGill data set. The results show that the relatively higher chromatic contrast of warm colors was greater for paintings compared with photographs, consistent with the hypothesis.

Art and Pediatric Orthopaedics: Repin and Inclusiveness.

A famous painting of the 19th century, by Ilia Repin, of a religious procession depicts the pageantry of the event but also draws the attention of the viewer to the exclusion of a disabled child from the festivities.

New Biocides Based on N4-Alkylcytidines: Effects on Microorganisms and Application for the Protection of Cultural Heritage Objects of Painting.

The rapid increase in the antibiotic resistance of microorganisms, capable of causing diseases in humans as destroying cultural heritage sites, is a great challenge for modern science. In this regard, it is necessary to develop fundamentally novel and highly active compounds. In this study, a series of N4-alkylcytidines, including 5- and 6-methylcytidine derivatives, with extended alkyl substituents, were obtained in order to develop a new generation of antibacterial and antifungal biocides based on nucleoside derivatives. It has been shown that N4-alkyl 5- or 6-methylcytidines effectively inhibit the growth of molds, isolated from the paintings in the halls of the Ancient Russian Paintings of the State Tretyakov Gallery, Russia, Moscow. The novel compounds showed activity similar to antiseptics commonly used to protect works of art, such as benzalkonium chloride, to which a number of microorganisms have acquired resistance. It was also shown that the activity of N4-alkylcytidines is comparable to that of some antibiotics used in medicine to fight Gram-positive bacteria, including resistant strains of Staphylococcus aureus and Mycobacterium smegmatis. N4-dodecyl-5- and 6-methylcytidines turned out to be the best. This compound seems promising for expanding the palette of antiseptics used in painting, since quite often the destruction of painting materials is caused by joint fungi and bacteria infection.

Microclimate, airborne particles, and microbiological monitoring protocol for conservation of rock-art caves: The case of the world-heritage site La Garma cave (Spain).

Cave heritage is often threatened by tourism or even scientific activities, which can lead to irreversible deterioration. We present a preventive conservation monitoring protocol to protect caves with rock art, focusing on La Garma Cave (Spain), a World Heritage Site with valuable archaeological materials and Palaeolithic paintings. This study assessed the suitability of the cave for tourist use through continuous microclimate and airborne particles monitoring, biofilm analysis, aerobiological monitoring and experimental visits. Our findings indicate several factors that make it inadvisable to adapt the cave for tourist use. Human presence and transit within the cave cause cumulative effects on the temperature of environmentally very stable and fragile sectors and significant resuspension of particles from the cave sediments. These environmental perturbations represent severe impacts as they affect the natural aerodynamic control of airborne particles and determine bacterial dispersal throughout the cave. This monitoring protocol provides part of the evidence to design strategies for sustainable cave management.

Using painting to disclose the inner worlds of women subjected to intimate partner violence.

Intimate partner violence has become an increasingly serious social problem in Türkiye in recent years. It causes social, physical, and psychosocial health problems that impact mortality and morbidity in women. This study aimed to determine the inner worlds of female IPV victims who sought safety from their abusers in women's shelters. The sample consisted of ten women staying in a women's shelter affiliated with the Violence Prevention and Monitoring Center in Ankara. The study used a qualitative research design (phenomenology) and the drawing technique. An art therapist and a psychotherapist interpreted the symbols in pictures drawn by participants. Moreover, in-depth interviews were conducted with participants to disclose their repressed feelings and thoughts. Both in-depth interviews and drawings helped us elaborate on participants' inner worlds. The results showed that all types of violence left deep emotional scars. Some participants stated that legal sanctions should also apply to psychological violence. Participants were highly motivated to change their lives around but had financial concerns. Some participants were concerned that legal procedures, such as housing and economic support, were short-termed. The results indicate that all parties, such as governments, civil society organizations, media, and the private sector, should adopt a holistic approach to combating all types of violence.

Interaction between creation and appreciation: How linguistic art creation impacts the aesthetic evaluation of haiku poetry and ink paintings.

In the psychology of aesthetics, compared with appreciation, there are fewer studies on art creation. This study aims to examine the influence of art creation on appreciation using haiku poetry with reference to the Mirror Model-a process model combining creation and appreciation. Although the model has been primarily used to examine visual arts, we examine its applicability to linguistic arts. In addition, we use ink painting to examine whether a generalisation across artistic genres can occur. The 115 participants were divided into two conditions-creation and control. The former created haiku before and after appreciation, while the latter did not create any haiku. The results showed no improvement in evaluation through creation. Additionally, recognising the difficulty related to creation leads to aesthetic evaluation, and this relationship is mediated by awe. These results expand the existing information regarding the Mirror Model in terms of the different art genres.

[Csontvary, a Hungarian Painter, Art, Psychiatry. The Analysis according to Rennert].

Tivadar Csontváry Kosztka, the great Hungarian artist was called a sort of a "crazy painter" by his contemporaries. Retrospectively, he was diagnosed as suffering not from psychosis but a schizotypal personality disorder based on seven out of nine diagnostic criteria. However, we still need a more precise definition of these criteria. It was also said that his paintings are like those made by the mentally ill. But following the principles and methods of the psychopathological art, especially that of Rennert, we find definitely more dissimilitudes than resemblances. In order to obtain a more accurate profile of this extraordinary creator, we still need further research focusing on the facts.

Depictions of penises in historical paintings reflect changing perceptions of the ideal penis size.

OBJECTIVES: To investigate alterations in depicted penis size by evaluating nude male paintings from the 15th to 21st centuries. MATERIALS AND METHODS: Nude-male paintings were identified from various art history websites and analysed to determine changes in penis size over time. Two observers organised the paintings according to the century in which they were created and made the calculations. Penile length to ear length (PtEL) or penile length to nose length (PtNL) were calculated to standardise the measurements using professional image analysis software. PtEL was first attempted for all paintings; if PtEL could not be ascertained, then nose length was used instead of the ear, as the nose length is defined as equal to ear length according to the golden ratio. Thus, PtNL was ensured and both ratios were then referred to using a common term: penis depiction ratio (PDR). Further analysis was performed by dividing the paintings into three groups according to the historical development of art: Renaissance Period (1400-1599; 15th-16th centuries), Baroque-Rococo and Impressionism Period (1600-1899; 17th-19th centuries) and Contemporary Art Period (1900-2020; 20th and 21st centuries). RESULTS: Of 232 identified paintings, 72 (31.1%) were excluded because they depicted images of adolescents or an erect penis. The PDR was found to differ significantly between paintings created in different centuries (P < 0.001). Subgroup analysis revealed that paintings from the 21st century demonstrated significantly higher PDRs than paintings from previous centuries (P = 0.001). CONCLUSIONS: In paintings depicting nude males, the size of the penis has gradually increased throughout the past seven centuries, and especially after the 20th century. This observation illustrates the changing sociocultural inputs into male body image and emphasises the need for improved understanding of the sociocultural factors associated with the perception of penis size in men.

Fractal assembly of micrometre-scale DNA origami arrays with arbitrary patterns.

Self-assembled DNA nanostructures enable nanometre-precise patterning that can be used to create programmable molecular machines and arrays of functional materials. DNA origami is particularly versatile in this context because each DNA strand in the origami nanostructure occupies a unique position and can serve as a uniquely addressable pixel. However, the scale of such structures has been limited to about 0.05 square micrometres, hindering applications that demand a larger layout and integration with more conventional patterning methods. Hierarchical multistage assembly of simple sets of tiles can in principle overcome this limitation, but so far has not been sufficiently robust to enable successful implementation of larger structures using DNA origami tiles. Here we show that by using simple local assembly rules that are modified and applied recursively throughout a hierarchical, multistage assembly process, a small and constant set of unique DNA strands can be used to create DNA origami arrays of increasing size and with arbitrary patterns. We illustrate this method, which we term 'fractal assembly', by producing DNA origami arrays with sizes of up to 0.5 square micrometres and with up to 8,704 pixels, allowing us to render images such as the Mona Lisa and a rooster. We find that self-assembly of the tiles into arrays is unaffected by changes in surface patterns on the tiles, and that the yield of the fractal assembly process corresponds to about 0.95m - 1 for arrays containing m tiles. When used in conjunction with a software tool that we developed that converts an arbitrary pattern into DNA sequences and experimental protocols, our assembly method is readily accessible and will facilitate the construction of sophisticated materials and devices with sizes similar to that of a bacterium using DNA nanostructures.