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| http://dx.doi.org/10.1001/jama.2017.19501 | DOI Listing |
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Understanding paint structures at the nanoscopic level can address key questions related to artistic techniques, paint formulation, and long-term preservation of artworks. This involves examining spatial chemical complexity, the formation of molecular networks, and interactions between organic and inorganic constituents. Depending on the paint preparation methods, proteins and drying oils, the most common binders in traditional artistic practices, can be integrated to produce paints with diverse structures and nanoscale chemical intricacies.
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Leonardo de Vinci is considered one of the greatest artists that has ever lived. His work includes the Mona Lisa and The Last Supper are celebrated worldwide. His talents expand beyond his art and his contributions to disciplines such as engineering, astronomy, geometry, botany, geology have revealed is him as a polymath.
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The past decade has witnessed an unprecedented rise in trans* representation in literature, with works of fictions that go from critically acclaimed best sellers like Torrey Peters' (2021) to Booker-Prize winner postcolonial-centred study of non-binary characters in Bernardine Evaristo's (2019). In this blossoming context of exploring trans* voices, Ali Smith's (2014) breaks the mould in its defiance of traditional representations of transivity, usually grounded on medico-legal discourses. Following the precept of transnormativity as well as the theories of hapticality of Jeanne Vaccaro and Laura Marks, which respectively explore the possibilities of trans* identity perceived as a collective process of crafting and the potential found in a haptical approach to the visual, I hereby discuss Smith's representation of trans*masculine identity outside the regime of medicine.
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