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Takesada Matsutani
From the early 1960s until the 1970s Matsutani was a key member of the ‘second generation’ of the influential post war Japanese art collective, the Gutai Art Association. Over five decades Matsutani has developed a unique visual language of form and materials. As part of the Gutai group, Matsutani experimented with vinyl glue, using fans and his own breath to manipulate the substance, creating bulbous and sensuous forms reminiscent of human curves and features.
In 1966, Matsutani received a grant from the French government after winning first prize in the 1st Mainichi Art Competition and subsequently moved to Paris where he began working at Stanley William Hayter's renowned printmaking studio, Atelier 17. During the four years he worked at the studio, he learnt French, married and established his base in Paris. Working alongside Hayter opened Matsutani up to a new form of artistic experimentation and offered him a newfound confidence. Matsutani began to rethink his practice and a new elemental aesthetic language began to emerge that was both controlled and organic.
After the Gutai group disbanded in 1972, Matsutani eased into a radical yet consistent new body of work, informed by his experience at Atelier 17. Faithful to his Gutai roots, he strove to
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HISTORY 1:The World of 2023
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Terms: Aut | Units: 1 | Repeatable 5 times (up to 5 units total)
Instructors: ; Comic, J. (PI); Campbell, J. (PI); Crews, R. (PI); Findlen, P. (PI); Mullaney, T. (PI); Press, S. (PI); Vardi, G. (PI); Weiner, A. (PI); Writer, M. (PI)
HISTORY 1A:Global History: The Old World (CLASSICS 76)
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Published in final edited form as: Proc IEEE Inst Electr Electron Eng. 2023 May 23;111(10):1236–1286. doi: 10.1109/JPROC.2023.3273517
Abstract
The emergence of artificial emotional intelligence technology is revolutionizing the fields of computers and robotics, allowing for a new level of communication and understanding of human behavior that was once thought impossible. While recent advancements in deep learning have transformed the field of computer vision, automated understanding of evoked or expressed emotions in visual media remains in its infancy. This foundering stems from the absence of a universally accepted definition of “emotion,” coupled with the inherently subjective nature of emotions and their intricate nuances. In this article, we provide a comprehensive, multidisciplinary overview of the field of emotion analysis in visual media, drawing on insights from psychology, engineering, and the arts. We begin by exploring the psychological foundations of emotion and the computational principles that underpin the understanding of emotions from images and videos. We then review the latest research and systems within the field, accentuating the most promising approaches. We also discuss the current technological ch