Advanced Computer Connections Review

Style (visual arts)
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La Vie by Pablo Picasso, 1903; falling under the "style label" of Picasso's Blue Period

Les Demoiselles d'Avignon (1907), also by Picasso in a different style ("Picasso's African Period") four years later.
In the visual arts, style is a "...distinctive manner which permits the grouping of works into related categories"[1] or "...any distinctive, and therefore recognizable, way in which an act is performed or an artifact made or ought to be performed and made".[2] It refers to the visual appearance of a work of art that relates it to other works by the same artist or one from the same period, training, location, "school", art movement or archaeological culture: "The notion of style has long been the art historian's principal mode of classifying works of art. By style he selects and shapes the history of art".[3]

Style is often divided into the general style of a period, country or cultural group, group of artists or art movement, and the individual style of the artist within that group style. Divisions within both types of styles are often made, such as between "early", "middle" or "late".[4] In some artists, such as Picasso for example, these divisions may be marked and easy to see, in others they are more subtle. Style is seen as usually dynamic, in most periods always changing by a gradual process, though the speed of this varies greatly, between the very slow development in style typical of prehistoric art or Ancient Egyptian art to the rapid changes in Modern art styles. Style often develops in a series of jumps, with relatively sudden changes followed by periods of slower development.

After dominating academic discussion in art history in the 19th and early 20th centuries, so-called "style art history" has come under increasing attack in recent decades, and many art historians now prefer to avoid stylistic classifications where they can.[5]

Contents
1 Overview
2 History of the concept
3 Individual style
4 Manner
5 Style in archaeology
6 Stylization
7 Computer identification
8 See also
9 Notes
10 References
11 Further reading
Overview
Any piece of art is in theory capable of being analysed in terms of style; neither periods nor artists can avoid having a style, except by complete incompetence,[6] and conversely natural objects or sights cannot be said to have a style, as style only results from choices made by a maker.[7] Whether the artist makes a conscious choice of style, or can identify his own style, hardly matters. Artists in recent developed societies tend to be highly conscious of their own style, arguably over-conscious, whereas for earlier artists stylistic choices were probably "largely unselfconscious".[8]

Most stylistic periods are identified and defined later by art historians, but artists may choose to define and name their own style. The names of most older styles are the invention of art historians and would not have been understood by the practitioners of those styles. Some originated as terms of derision, including Gothic, Baroque, and Rococo.[9] Cubism on the other hand was a conscious identification made by a few artists; the word itself seems to have originated with critics rather than painters, but was rapidly accepted by the artists.

Western art, like that of some other cultures, most notably Chinese art, has a marked tendency to revive at intervals "classic" styles from the past.[10] In critical analysis of the visual arts, the style of a work of art is typically treated as distinct from its iconography, which covers the subject and the content of the work, though for Jas Elsner this distinction is "not, of course, true in any actual example; but it has proved rhetorically extremely useful".[11]

History of the concept

14th-century Islamic ornament in ivory, centred on a palmette; Alois Riegl's Stilfragen (1893) traced the evolution and transmission of such motifs.
Classical art criticism and the relatively few medieval writings on aesthetics did not greatly develop a concept of style in art, o

Was never able to get the sales guy, Frank, to return my calls... very unprofessional.

We were having issues with our laptop and they were able to get us in the same day and they had it figured out quickly. Unfortunately we needed a new laptop but they were able to transfer our old hard drive onto a new one. Very polite and professional.

So after NUMEROUS attempts to send some photos to the email of a local body shop, and NUMEROUS rejections that read as follows:
"User mailbox exceeds allowed size (and then the email addy)"
So I called ACC Norwalk, and was told this was "A default setting for security."
A default setting for security. And that he "bumped it up a little bit".
Only I still can't send photos.
Here's the rub. He didn't know that I have above-average computer knowledge (I'm A+ certified, and yes, that's the lowest of qualifications). But here's what I DO know. That setting a small attachment size limit has NOTHING to do with security.
I'm going to go on the record and say that this is actually a LIE.
I supposed ACC Norwalk sees a lot of 30, 40, 50 meg size viruses? No, most of the viruses I've seen in the wild (and I've seen LOTS) are, at most, a few K in size. If they were huge, they wouldn't be very effective.
Setting a small file attachment size serves one purpose and one purpose only.
It saves them server space and saves them money. It has absolutely NOTHING to do with security, and EVERYTHING to do with not providing their customers with industry-standard email because that's too expensive for them.
If it's too expensive, get out of the biz.
File sizes for email attachments should be 50+ meg for each attachment MINIMUM. This is 2019. This business is being poorly served with these restrictions, and I will recommend they seek other services.

Heavy handed tactics from these dinguses. Cold calls saying they found company info on the dark web. Would not do business with them. Plus, I found all their company info on the dark web! Scary!