Потребител:MetodiHristov/Пясъчник

Accelerative OptimaLearning® In Art (AOLIA) is a methodology for accelerated learning and in-depth understanding of the arts. Every great piece of art transcends — by virtue of its own greatness. AOLIA brings this transcending quality to the learner's life and assists in the illumination of the spectator's minds and in the enlightening and expanding of his/her lives.

The following article is solely based on the work "Accelerative OptimaLearning® In Art (AOLIA)" by Margaret Chambers

Introduction

Monet - Impression, Sunrise

Through special orchestration and synchronization of art stimuli and psychological processes the OptimaLeaming system activates dormant brain energy, stimulates mental processes, and empowers thinking, learning, aesthetic perception, and communication. OptimaLeaming has been called the “art of learning through the arts.”

Accelerative OptimaLeaming Through Art™ (AOLIA) is a subsystem of OptimaLeaming which facilitates exponential growth of art appreciation and art interpretation concurrently with accelerative development of mental capabilities. An active experiential process, AOLIA enables participants to penetrate the aesthetic visions and creative processes of artists. The genius of the great masters in orchestrating color, form and other aspects of painting with the meaning of the artistic expression becomes a powerful catalyst for participants. Their interactions with the essence and meaning of art invoke major shifts in perception and activate latent brain energy. This experience strongly motivates participants to incorporate art into their lives, which makes a profound impact on their quality of life.

Innovative and inventive Accelerative OptimaLeaming in Art (AOLIA) programs have been piloted during the past five years in Great Britain, Bulgaria, Argentina, Italy, Spain as well as the USA. Our emphasis is on active participation with visual art. These programs are especially powerful when combined with or conducted in art museums. We feel that these AOLIA programs could provide your Foundation Blouin MacBain with truly transformative models and approaches to art appreciation and art education to greatly facilitate your extraordinary vision.

AOLIA will significantly contribute to Foundation Blouin MacBain since:

• AOLIA dramatically engages museum “participants” in discovering the power of art—through short, intensive, interactive experiences unlike typical docent or audio tours,
• AOLIA is an inventive system with strategies and techniques which make the observer an active participant and co-creator through uniquely orchestrated stimulation of brain levels.
• AOLIA is a radically different approach to art appreciation, art interpretation and art communication activating complex intelligence processes. It also incorporates intimate insights into a painter’s perspective and his/her creative process.
• AOLIA creates breakthroughs for art participants as their “new eyes” perceive Beauty and meaning in the works of artists and extend these perceptions to the world in which they live.
• AOLIA occasions neurological shifts which often result in greatly expanded mental capabilities, with a boost in vitality and enjoyment of life. Art becomes a gateway to new vistas of understanding, empathy, and creativity.

In brief AOLIA will impact the following areas by:

• Inspiring ordinary people to high levels of art appreciation so they can enjoy art immediately and profoundly.
• Rescuing art Interpretation and art education from passivity and dry left-brain intellectualism.
• Transforming art communication from “talking about” art to engaging a person’s complex intelligence processes with art and with the creation of art.
• Upshifting creativity for artistic endeavors and for aesthetic expression in many areas of life.
• Illuminating meaning of art in historical, social and cultural contexts to bridge differences and enrich our common bonds around the globe.
• Sparking an energetic passion for creative expression through carefully orchestrating stimuli with meaning, as well as special rhythm and intonation in voice, dynamics of energy flow, and with the Principle of Complementation and the Principle of Contrast and Complementation.
• Reaching the novice, the sceptic, the untutored as well as the elite and sophisticated by tapping into the hidden genius of each person.
• Preparing people of today who see greatness only in representational art or in cultural favorites (as the Impressionists have now become) by educating their eyes to perceive new beauty and meaning in contemporary and emergent art.
• Adaptation for new interactive media, such as the Internet or even games.
• Providing flexible applications of the AOLIA principles to programs of museums, schools, business education, distance learning, cultural exchanges, and other avenues for transformative learning.

The impact of AOLIA programs on individuals has been astonishing. We believe that with wider application, it will be revolutionary.

Your great Renaissance vision and our programs are aligned with common purposes. We believe that AOLIA can assist you in having world-wide impact on the role and power that art should have in people’s lives.

Goals for Accelerated OptimaLearning in Art

Roses - Vincent van Gogh

Participants in an AOLIA program will:

1. Learn to enjoy paintings—immediately and profoundly.
2. Gain new perceptual skills and comprehension of the basic components of art as well as the subtle relationships between color, form, composition, space, light, tone, modeling, etc., through experiential and theoretical learning.
3. Discover the secret of genius, penetrating the essence of art. Through comparative art analysis see the paradigm shifts throughout history of art. Come to appreciate and value contemporary art for its unfolding uniqueness.
4. Acquire insight into the meaning of art.
5. Penetrate the creative process, and begin to understand the phenomenology of art appreciation and art creation.
6. Expand aesthetic perception as it leads to creating new connections, sharpening mental processes, generating ideas, and stimulating creativity in work and life.
7. Enrich life. Through the neuro-physiological brain stimulation of participative aesthetic learning, use renewed passion, creativity, and rediscovered vitality to achieve a special quality of life.

The AOLIA Program

To open the soul of art to impact the soul of the observer/participant—that is the ultimate goal of Accelerative OptimaLearning in Art (AOLIA). By engaging the observers, the program aims to lead them through a transformation of both sight and insight.

The AOLIA approach is designed to correspond to a painting or sculpture. Its elements are orchestrated into an organic whole, totally interrelated and interdependent. The focus is on artistic expression and the meaning of artistic expression. Artists may perceive Beauty in nature, but they do not paint this beauty. Rather they express this beauty through their individual artistic vision, by transforming the objective into the subjective with high aesthetic values.

With their aesthetic vision they are driven to acquire the skills necessary to express it.

As artists work, they are continually moving between their inner vision and their emerging expression of that vision. They interact with this process itself.

In an AOLIA program participants learn to use their visual perception to internalize various artists’ visions. This motivates them to develop perceptual and mental skills that enable themselves to interact with art as an artist does. Their minds begin to “dance” between each artistic vision in its organic expression and the elements of its creation and meaning. These mental shifts generate energy which flows beyond art alone and transforms participants’ ability to perceive, learn, and create in the wider space of their own lives.

In this brief introduction to the AOLIA program, we will look at the experience from the participants’ perspective first. Then we will summarize some of the key concepts and strategies that make this experience so unique.

Fundamental Deficiencies in Museum Education

Fundamental deficiencies exist today in the museum experience of most spectators and in art education.

Most spectators do not visit art galleries primarily to gain knowledge about history or social anthropology or artists’ biographies. Most don’t even care about these. They go to experience the art. Yet in the prevailing docent/guided tour visitors stand in front of an object and are talked to by a docent or through an audio aid. Commentary by a guide is usually about what the object represents, such as a description of the content or socio-historical context, or the life of painter, or iconography or about technique and style. However, visitors come to enjoy to art; many leave with empty hearts and minds full of ideas they don’t know how to use.

A. Few spectators are purposely stimulated to any strong aesthetic experience when viewing works of Art.

B. Few engage their full sensory perception when viewing Art. Fewer still sharpen their sensory perception enough to carry new skills into their daily lives.

C. Meaning and interpretation may be “given” to the spectator, but rarely is the spectator assisted in finding deeper meaning that goes beyond information about the genre or biography of the artist.

D. Rarely do spectators who arrive with a bias for representational art penetrate the essence of Art in ways that could help them perceive the value of 20lh and 21st century art.

E. Few spectators leave with new or heightened creative energy and inspiration as a result of any planned experience during their visits.

F. No connection is consciously made between the Art they see and their lives.

G. Prevailing practice provides no systematic approach to addressing any of these deficiencies. In fact most museum and art education administrators, despite their sincere commitment to sharing art with the public, do not even comprehend the enormous deficits in their offerings.

From the point of view of contemporary cognitive theories the mind is not an empty box to be filled with information. The mind is a multiple of processes interrelated and interacting (perceiving, associating, encoding, comprehending, analyzing, concentrating, memorizing, stabilizing and destabilizing, anchoring, creating, re-creating, transforming). Only through an interacting learning experience will spectators who are coming to see art, truly “see” it. I believe that “seeing art” is really not about seeing; it is about directly experiencing the orchestration of color and form with the meaning of artistic expression.

Interacting with Art

The heart of the AOLIA method is a carefully orchestrated learning sequence which engages each participant in interaction with art. Ideally it occurs in museums, but it can be simulated in other settings.

Since time immemorial greatness in art has never been representational. Even landscape and portrait painting does not merely reproduce an external reality. Its artistic value is based on how much its artistic expression affects our minds and soul. About Holbein it is said, “The longer we look at his portraits, the more they reveal mind and personality.”

A painting is created with an explicit intention to affect the mind immediately in a specific way. These “blueprints for first exposure” should not be tainted by premature interpretation.

Finally, education within museums today is generally psychologically and philosophically inappropriate. Beyond the deficiencies in nurturing art perception is a deficiency in illuminating the creative process, especially the creative process of painters. Visitors do not “feel” a brush stroke. They are not led to alternate between focusing on details and sensing the whole, intensifying perception and patterns. One cannot penetrate the essence art without participating actively in a creative process such as a painter’s alternating attachment to and detachment from what’s on a canvas.

Titian - Ranuccio Farnese - Google Art Project

Overview of an AOLIA Experience

No description can capture the energy of an interactive aesthetic learning experience. Nevertheless we can begin to understand what makes it so memorable.

Imagine yourself visiting a museum of art for the first time. Before you enter the galleries of the museum, your Art Guide will introduce you to a few goals of the program. AOLIA will help you discover the artistic VISION that emanates from each painting. To reach that goal you need to sharpen your perception so that you can look at art with “painterly eyes,” eyes trained in new techniques of seeing. You are invited to become an active learner, fully participating in the Guided Discovery method which is AOLIA’s key approach.

The first time you look at any painting, you are asked to spend a very brief moments in Contemplative Viewing. Empty your mind; suspend all logical/analytical thoughts, and use an unfocused or soft focus to stare at the painting. Wait with an empty mind until something in the painting grabs your PERCEPTION, whatever attracts you strongly and spontaneously, maybe a particular color or color contrast, maybe a figure, or something in the background. Only then, allow your eyes to come into focus on a part or parts of the painting. In this

Focused Seeing your perception is of the pictorial elements and sensory details of a work. Explore how the first element that caught your eye now relates to other aspects of the work. Stay with your feelings and enjoy the technical elements—brush strokes, draftsmanship, composition, contrasts. Switch your focus back and forward between an element and the whole work.

During DaVinci’s painting of The Last Supper, it was reported that he stared at the half finished painting for hours at a time, occasionally even days, before returning to paint. Try to sense the picture as If you were the painter somewhere in the middle of producing this work. Savor your aesthetic perceptions and do not consider the subject of the painting yet.

Training one’s eye requires practice. Repeat this Contemplative Viewing with an empty mind each time you move to a new picture. After you find the “attractor” for you in the painting, engage in the rhythm of shifting your Focused Seeing from a part to the whole and back again several times.

You will be “Dancing with Perception™,” a very fluid, easily customized technique to sharpen your abilities. Your Art Guide will be working with you as you refine your skills in this major process.

Always engage your aesthetic PERCEPTION when you first encounter a new painting. As Kenneth Clark would say, “Before I go into detail, I sense the painting." Then you may delve more deeply to understand the PICTORIAL SUBSTANCE of the painting itself. Your Art Guide will lead you into increased Analytical Seeing, asking you to think about not only the painterly aspects of the picture, but also about its style, genre and socio-historical context. Sometimes questions will engage your inductive reasoning; other times your deduction reasoning, but both will still be directed at your own self discovery. Now you add the third aspect of the program, MEANING.

Your Art Guide will continue to expand your skill and understanding. In addition to the dance between Inductive and Deductive reasoning, you are also dancing between Contemplative Viewing and Analytical Viewing. Soon you will also be refining your dance by adding another technique of artists themselves—Attachment and Detachment. While a work is in progress artists often need to step back from the work and regard it with a more objective eye, then attach their energy back with the painting. These dance movements are felt in neuro-physiological processes as Intensifying and Deintensifying.

As you tour the works of a museum, either selectively or comprehensively, you are continually cycling up an ever

widening spiral of PERCEPTION, PICTORIAL SUBSTANCE and MEANING.

For example, one area of meaning revolves around the creative genius at the artist. In our accelerated art history, the Art Guide may show you an example of the early uses of perspective with foreshortening of figures and a vanishing point. It may be a painting Battle of San Romano by Ucello, who was a significant pioneer in the rise of Florentine perspective. Then in contrast the Guide will move to one of the early masters of the High Renaissance, Pietro Perugino and his painting Archangel Raphael with Tobias. Again we use the Contemplative Viewing technique for 5-10 seconds. What colors or color combinations speak to you? Someone will remark that the garments are gracefully draped or that the rich red is juxtaposed with the soft blue. The group may soon agree that this is beautifully painted and pause to enjoy it.

Raffael 020

Let me show you one of his students’ paintings, your Art Guide invites you. Expecting a derivative work the participants are surprised by the purity of line, sophistication of color, and above all a magical quality of the next work, St. Catherine of Alexandria. Yes, this artist, Raphael Sanzio, is a genius. Why, you are asked. Yes, his technical mastery surpasses his teacher. Yes, beauty is expressed in the form and face of a saint. Gradually you discover that there is a transcendent quality in Raphael’s work. He seems driven by Beauty he carries inside himself. This inner artistic vision drives him to a high technical skill level in his great desire to express his inner vision. Genius emanates from within but its energy reverberates to all who open themselves to its exquisite expression.

Van Gogh, a genius of another era, was driven to express his vision of a world burgeoning with energy and light. His work has been characterized as “pregnant with Beauty.” I describe it also as “peace with a burning reality.”

The initial cycle of the AOLIA program helped you strengthen your abilities to perceive and differentiate the pictorial substance and expression of many artists. The second cycle expands your mental processing by exploring many levels of meaning: the meaning of artistic expression, the meaning of the creative process itself and of the transcendental qualities of creative genius, and the meaning of art as it empowers renewed passion in one’s life.

The third cycle of the program consolidates your earlier learning and makes it more transparent. Variations within the AOLIA process naturally complement each other. Other participants volunteer that their new perceptions of connections reach far beyond art. Art empowers life.

These learning activities are propelled by an ENERGY flow which is activated through the orchestration of abundant artistic stimuli and which flows through the “dancing” like force between magnets. Specific rhythm and intonation in the voice and movement of the Art Guide also generates energy. Participants report tremendous surges in their psychological as well as physical energy levels. They feel uplifted and empowered not only with the art of the museum, but with the Beauty they now perceive in the daily world around them.

Key Concepts and Processes

AOLIA’s primary method is OptimaLearntng Guided Discovery™, an experiential learning approach. Participants are coached even during deductive work to look for their own understanding and answers.

Goals for participants are usually 1) to enjoy art, experiencing it immediately and profoundly; 2) to discover or enhance one’s own creativity or artistic “genius”; and 3) to expand knowledge about art, themselves, and how to learning through the arts.

The four dimensions of the Accelerative OptimaLeaming In Art (AOLIA) model are:

1. Pictorial Substance
2. Perception
3. Meaning
4. Energy

These are each aspects of the complex mental and emotional processes which merge in an AOLIA experience. They are always co-present. Like any organic process, we can address them separately, but they remain interdependent.

Aesthetic perception takes precedence in the first aesthetic encounter with any painting. The AOLIA approach always starts by awakening participants’ perception, engaging them in a search for a fuller comprehension of an artist’s artistic process. Information and knowledge about art never precede the active engagement of participants’ perception. Any analytical cognitive process at this point interferes. The purpose in this sequence is to change the way one’s brain processes this experience.

The primary strategy is interactive dancing between symmetrically opposite processes. These paired processes include

• Inductive vs. Deductive thinking (especially related to Artistic Substance and Meaning);
• Contemplative Viewing vs. Analytical Viewing (related to perception);
• Detachment vs. Attachment (related to works of art);
• Intensification vs. De-intensifieation (related to neurophysical processing).

The program unfolds in cycles building and enlarging the experience. The First Cycle of AOLIA revolves around pictorial substance and the training of participants' sensory perception. "Dancing with Substance™" introduces the technique of flow back and forth with symmetrically opposite processes. "Dancing with Perception™" increases the processes which train sensory perception and prepare participants to move to the second cycle

which deepens meaning. The Second Cycle uses all the previous discovery techniques while increasing the depth of participants' knowledge of art, its evolution, and how their own mental and emotional processes interact with art and life. This Third Cycle expands the participants’ perspectives, provides insight into their accelerated mental capacities and energy flow, and may even inspire a sense of the transcendental in art.

An underlying strategy is the dynamic sequence and variations of the activities within each cycle, such as initial Contemplative Viewing (empty mind, non-focused), Focused Seeing (fully conscious perception directed to a part or whole of the painting), Analytical Viewing , Attachment, Intensifying, Deintensifying, Detachment, Focused Viewing (to refresh), Analytical Viewing, etc.

The strategies and processes are grounded in brain-based learning theory and have demonstrated unusual power to accelerate mental development and amplify motivation.

The four dimensions of the AOLIA experience are supported by a body of theory and empirical experience. Briefly this organic experience can be seen from four perspectives.

PICTORIAL SUBSTANCE focuses attention on the pictorial expression of individual works of art, helping the participant engage all senses in a rich aesthetic encounter. It always draws the participant into the creative processes used by artists as their attention alternatively flows between their vision and its technical expression on the canvas.

PERCEPTION is the participants’ door into the world of art. It reflects how we should look at painting to gain aesthetic insight and to be aligned with the painter’s creative process. Most participants need to develop skill in new ways of “seeing” without filtering their perceptions through preconceived concepts. Eyes become instruments for feeling the orchestration of color and form. The training of the eyes also creates shifts in mental processing which are useful beyond the perception of art.

MEANING explores in depth the artistic expression of individual works of art and artistic paradigms. It also moves the participant into a search to understand creative genius and that which brings a transcendent quality of great art. Finally this dimension connects art to the accelerative, complex pattern thinking that it has liberated in the participants’ own minds. These mental abilities open new possibilities for meaning of art in life.

ENERGY is the dynamic that bonds all these dimensions. Its flow moves pulsates throughout the participant’s experience, bringing intensity and release. It moves between intensive states and pseudo-passive states. This results in optimal brain stimulation reenergizing participants and the Art Guides alike. Participants report that they experience a dramatic increase in their mental acuity and comprehension.

The key figure throughout this process is the Art Guide, a specially trained leader who orchestrates, leads and teaches in AOLIA programs.

Van Gogh - Terrasse des Cafés an der Place du Forum in Arles am Abend1

A New Paradigm

Accelerative OptimaLeaming in Art represents a new paradigm in art appreciation and art education. It is active, not passive. Its focus is on the aesthetic experience of the participant, not on knowledge about art. It expands perception and complex mental processes of participants. Participants tap into their own hidden genius, a source of their personal creativity. Participants leave museums with art and the artistic experience internalized. They are energized and uplifted. They often feel highly motivated to expand their knowledge of art, both theoretically and experientially.

Many participants also begin to feel more optimistic about life and their own capabilities—way beyond art. Creativity is greatly stimulated.

This, we believe, is the essence of Optima Learning—to uplift the human spirit, to expand our mental and spiritual capabilities. Art generates additional meaning and power, the power of illuminating and expanding our lives.

This is itself a transformative experience.

The artistic vision of Mondrian expressed in his later works illuminated the links between human experience and the mystical source of the universe. His primordial grids reached beyond a vision of earthly beauty. He painted unbounded primary color in finite space and left other space open and receptive. As one contemporary artist remarked, “Mondrian is not creating new painting; he is creating new universes.”

AOLIA engages participants with art through the ages, but uniquely prepares them for the art of the 20th and 21st centuries.

We believe that this approach, used widely, could transform the role of art in our world today.

Testimonials

Accelerative OptimaLeaming in Art® (AOLIA) is transforming not only how ordinary individuals perceive and enjoy fine arts, but also how their experiences continue to infuse an aesthetic sensitivity and delight into their lives. Here are excerpts from letters of five individuals—a Filipino college student, a Bulgarian electrical engineer, a British educator, a Bulgarian business woman, and an English school teacher—none of whom had been satisfied with their visits, if any, to art museums before their participation in AOLIA programs.

That's the subtlety of art and that's what we need to get in touch with again. Slowly a pattern will appear spontaneously in your mind of how the colors and patterns are interconnected to form a feeling or a sense of something newly discovered. Dr. Barzakov calls this technique in the OptimaLeaming® interpretation of art Dancing with Perception™

Looking at art is like looking into the mind of a genius. You sense the complex processes that went into his or her creations. In time, as your mind is exposed, it becomes entrained to think in similar patterns. That is why suddenly you find yourself very creative or able to grasp complex parts and see them holistically as a picture.

Through Dr. Barzakov's training, art stays with you even when you are no longer looking at it. It is in your mind. The beauty of art infiltrates your life making everything more beautiful.

—Jeffrey Miraflor, San Francisco

The three hour super-accelerated OptimaLeaming training on fast and profound penetration into art and art history turned out to be an exceptional gift for me. Through Accelerative OptimaLeaming in Art I succeeded for the first time in my life to grasp the deepest meaning of great paintings and optimally perceive color, line and style.

What is even more important—AOL1A gave me two new eyes! I see the world differently now. I discover beauty everywhere, in nature as well as in human relationships. This is not just knowledge or a skill; this is a special gift which I will never be able to repay you, Dr. Barzakov, in my lifetime.

—Gregor Dudolov, Varna, Bulgaria

Almost immediately every picture I passed seemed to be vibrant and interesting. In the past I’ve not wanted to stay in picture galleries very long because I wasn’t getting much. This time all the pictures were fascinating—and the more I looked the more I liked them, even if at first sight they didn’t appeal to me.

I didn’t understand everything you said about the different periods, but I did start to see for myself in a new way. If I just scanned a gallery, all the pictures seemed to be alive. When I looked at a new picture more closely, I didn’t initially “see” it. But if I scanned it, something did jump out at me and it seemed to be a clue to the rest of it.

When we walked out into Trafalgar Square afterwards, it looked like a painting. I saw the form and colour in a new way.

—Susan Norman, Director Society for Effective, Affective Learning (SEAL)

London, England

AOLIA really shifted my perception of the world around me from the trivial to the positive, filled with life energy. After the three-hour compressed workshop, I was gifted with “a pair of new eyes. ” All those masterpieces I saw (most I’d never heard of and really couldn’t understand at all) totally changed my world. The brilliant masterpieces helped me to rediscover Beauty in all its aspects: from the Beauty of nature to the Beauty of human relationships.

I’m wondering how a painting of a genius who lived ages ago is still so expressive, revealing Beauty in the world. That Beauty gave us a feeling of vitality that I had never realized before. This is because of my “new eyes ” after just three hours of experiencing AOLIA.

The next day I had the strange feeling that through the paintings I had been in direct contact with the artists. AOLIA taught me how to enjoy the moment, how to discover the beauty in people and places arond me. The masterpieces shared their Beauty with me and now that Beauty is keeping alive the music of my soul.

—Yana Doximova, Varna, Bulgaria

. . . Over the next few days the effects of the AOLIA training became even more apparent. Everywhere I looked I saw form, color, tone and incredibly—beauty. Nowhere was safe! My living room, sitting on a bus staring out the window, waiting at a bus stop looking at buildings, walking down a street looking at trees or the sky. I truly knew what it was like to have new eyes.

An unexpected outcome from the training—for me I hasten to add, not Dr. Barzakov—was a constant stream of ideas, thoughts and perceptions totally unrelated to the fine arts that began to flow from me. My notepad became full of ideas on a variety of topics to do with work, solutions to problems, and ideas for articles to be written. . . .

Two days after the AOLIA training I started reading some non-fiction books from my book shelf. Here I was spontaneously picking and reading books, some of which I had never looked at, others I had merely glanced at a few pages, and others I had read but never really absorbed the contents in full. Now after reading books about philosophy, neuroscience, and literature, I understood even complex ideas after one reading, two at the most! Not only did I understand the, but I could relate them to other concepts and seemingly unrelated ideas. What a surprise this was I cannot begin to express, since previously I had to read complex texts several times in order to really grasp their essence. Now they came as easily as leaves to a tree . . . Overall my mental faculties skyrocketed. Memory, concentration, understanding and perception had all been boosted; I felt amazingly clearheaded. . .

What exactly did Dr. Barzakov do that enhanced my intelligence? Who would have guessed the power of a few paintings to actually change my mental abilities? How and why are the arts so powerful? . . . This to me is the essence of AOLIA training; it allows us to directly experience something great masters once felt which inspired them to paint and in turn use that to empower our own lives.

—Rodney Polydore, London

Founder

• Ivan Barzakov

References

• Margaret Chambers, Freelance writer and editor, Arlington, VA, USA

External links

• Шаблон:Cite SEP