{'fraction_non_alphanumeric': 0.024945770065075923, 'fraction_numerical': 0.0021691973969631237, 'mean_word_length': 4.697530864197531, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Participatory Art and Body Sculptures with Mirrors

Since antiquity many artists have been fascinated by the play of reflections from mirrors. They reacted in various ways to the illusions that are created by these inanimate objects so easily, yet mysteriously. Velasquez was one who depicted reflections in his paintings, for example in his 'Venus and Cupid' and in 'Las Meninas'. For him mirrors were a means to unlimited expansion of the visual field. Venus, the goddess of love, has often been represented holding a mirror that symbolized female beauty. As a result, since the 16th century, many women, flattered by their portraitists, have posed holding a mirror. In the 'Girl before a Mirror' Picasso sought a deeper level of meaning, for the young woman is absorbed by the view of her body and by her female nature. Mirror images of objects are turned about and are located behind the mirror's surface at a distance