Journal articles on the topic 'Colonies in art'
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1
Stahl, Joan. "AMERICAN ART COLONIES 1850-1930: A HISTORICAL GUIDE TO AMERICA'S ORIGINAL ART COLONIES AND THEIR ARTISTS. Steve Shipp." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (October 1997): 56–57. http://dx.doi.org/10.1086/adx.16.2.27948908.
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Bischoff, Eva. "“Heimischwerden Deutscher Art und Sitte” Power, Gender, and Diaspora in the Colonial Contest." Itinerario 37, no. 1 (April 2013): 43–58. http://dx.doi.org/10.1017/s0165115313000259.
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In 1909, in a public lecture on German colonial politics, author and colonial activist Clara Brockmann emphasised the crucial role of female emigration to the colonies of the Kaiserreich (German empire). With special reference to German Southwest Africa, she argued:The immigration of the German woman in our colony is much talked about and much is done for it. The aim is quite obvious: the prevention of mixed marriages, which are the mental and economic ruin of the settler, the achievement of a profitable farm business, which cannot be fully developed without the assistance of the housewife, and the establishment of German manners and mores, of German family life, which is created foremost by the presence of the woman.Brockmann was one of many women who were committed to “the colonial cause” during the Kaiserreich. Most of these activists were organised in the Frauenbund der Deutschen Kolonialgesellschaft (Women's League of the German Colonial Society). Its central aim was to support and organise the emigration of German women to the colonies of the German Empire. This paper takes a closer look at the rhetoric and politics of the Frauenbund, its claims for the decisive role women were to play in the colonial project, its emigration scheme, organised to provide German settlers with racially “appropriate” wives, and its underlying assumption that Germanness itself was under threat in colonial space. The Kaiserreich's female colonial activists have been the object of numerous studies so far. None of these studies, however, reflects on the issue within the larger context of nineteenth-century global white mass migration or white diasporic movements as described, for instance, by Jürgen Osterhammel.
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Vann, Michael G. "Caricaturing 'The Colonial Good Life' in French Indochina." European Comic Art 2, no. 1 (January 1, 2009): 83–108. http://dx.doi.org/10.3828/eca.2.1.6.
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André Joyeux's La Vie large des colonies ['The Colonial Good Life'] is an insider's portrait of the French colonial encounter in Southeast Asia. Published in Paris in 1912 but most likely penned in Saigon, the collection of cartoons explores the racial order of the colony. Although the artist critiques many aspects of the colony and highlights certain gross injustices, such as the coloniser's sexual predation and physical violence, he also articulates many of the bluntly racist French stereotypes of the Vietnamese, Chinese and other Asians in the colony. Joyeux, as an artist and as an art teacher, contributed to the development of cartoon and caricature as a medium in Vietnam, which would eventually be used in the anti-colonial, nationalist and communist movements. La Vie large des colonies is of importance as a primary source in the study of empire.
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Bujdosó, Zoltán, Béla Benkő, and Csaba Patkós. "The role of art colonies in local development through the example of Cered Art Colony." Ecocycles 7, no. 1 (March 15, 2021): 14–18. http://dx.doi.org/10.19040/ecocycles.v7i1.184.
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The current study's topic is the summary of the roles of art colonies in the local example. The theoretical basis of the study was given by the international scientific literature of art colonies and the role of culture in the life of settlements. The matter of research is relevant as an investigation based on a case study has not been made yet on this topic; moreover, it consists of important results for the professionals. On this basis, it can be determined that which factors affect positively the human and natural environment through an art colony. A further advantage of the study can conclude to the possible development ways of culture in the life of villages. The current research, regarding the future, is an ideal starting point to know the role of art in local (and regional) development. The main results of the case study are the tangible effects of the colony on the (natural and human) environment.
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BURSA, MIROSLAV, and LENKA LHOTSKA. "ARTIFICIAL INTELLIGENCE METHODS IN ELECTROCARDIOGRAM AND ELECTROENCEPHALOGRAM DATA CLUSTERING." International Journal of Computational Intelligence and Applications 08, no. 01 (March 2009): 69–84. http://dx.doi.org/10.1142/s1469026809002448.
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The paper focuses on the field of artificial intelligence techniques and their use in biomedical data processing. It concerns the clustering techniques inspired by various ant colonies. The behavior of ant colonies shows many interesting properties that have been used in static and dynamic combinatorial problem-solving tasks (mostly since 1990). Also applications to data clustering have been proposed. This branch is a subject of ongoing research. After the introduction into the state-of-the-art of ant-colony-inspired metaheuristics, an overview of ant-colony-inspired clustering metaheuristics is presented, together with the ACO_DTree method, developed by the first author, which is based on the autocatalytic collective behavior of real insect colonies. Over the basic algorithm it involves techniques to increase robustness and performance of the method. Application to electrocardiogram and electroencephalogram data processing is also presented, together with comparison to other clustering methods.
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Đorđević, Jovana N., Miloš M. Đorđević, and Mia M. Arsenijević. "LIKOVNA KOLONIJA KAO MODEL PEDAGOŠKE PODRŠKE DAROVITOJ DECI PREDŠKOLSKOG UZRASTA." Узданица XX, no. 2 (2023): 197–209. http://dx.doi.org/10.46793/uzdanica20.2.197dj.
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Artistically gifted children at preschool age can be identified through analysis of their artworks, as well as through a specific behavior these children express when dealing with art assignments. While gifted children demonstrate faster progress from one drawing phase to another, they also show high level of motivation and devotedness to the work itself. Even though preschool teachers are mostly capable of recognizing children who show above-average drawing abilities, they are rarely capable of adapting their teach- ing in a way to support children’s giftedness. This paper presents a possible approach of supporting preschool children’s giftedness in art, developed at the Faculty of Education in Jagodina. Since preschool teachers need external support in their work with artistically gifted children, we developed and implemented a specific model of promoting and nurturing art giftedness in preschool children. The model was based on the principles of art colonies, adapted to our specific goals and conditions of work. Conceptualized as an extracurricular activity, art colony for artistically gifted preschool children consisted of art workshops developed and implemented by professional artists and art teachers. Art workshops were conceptualized to introduce children to new and more complex art techniques and proce- dures, and to challenge them with more complex art problems. Two art colonies have been held so far, both lasted for three days, each including ten preschool children recognized as gifted in art. Based on positive reactions from both children who participated in the colonies and their teachers and parents, it was concluded that the proposed teaching model of an art colony can be considered as a pedagogically appropriate approach to support artistically gifted preschool children.
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Tia, Daniel, and Akissi Nexe Octavie N’Guessan. "Emerging Evils in Post-Colonies." East African Journal of Arts and Social Sciences 7, no. 1 (July 10, 2024): 398–411. http://dx.doi.org/10.37284/eajass.7.1.2039.
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The colonial and postcolonial are two different ideological eras in the colonized peoples’ history, which are taken up by post-colonial literature. Without rehashing the ex-colonized beings’ painful past from a rebellious and revanchist perspective, postcolonial writers’ literary projects aimed at revitalizing the ex-colonized beings’ experience in the form of collective memory. In such a creative art, the narrative devices in force decry retrograde and dehumanizing practices. In terms of vision, the call for improving the relationship between ex-colonizers and ex-colonized subjects is highly prescribed. All neocolonial policies and related influences are systematically proscribed, thus favouring the creation of a global village free from inequalities, exclusions, and other injustices. In essence, the poetization of “Bournehills” in The Chosen Place, The Timeless People and “Kosawa” in How Beautiful We Were is part of those narrative techniques. Today, in a disguised form, Westerners, with their seducing offers or projects, corrupt tiny groups of undeveloped people won over to their cause and keep the masses in misery. In this context of political paradigm shift and sociocultural mutation, the study of the forms of life in the post-colonies remains a challenge. This helps to disclose on the one hand how the former colonial maintains their ex-colonies in perpetual dependence and on the other hand, highlight how the ex-colonized beings or heirs react and overcome neo-colonial policies. To account for the features of neo-colonialism, the use of Perussetian semiotic approach will be helpful. This will contribute to looking into the prevailing forms of life in both fictional imaginaries. Two points of interest will be scrutinized: “post-colonial order features” and “ex-colonized beings’ resilience”
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Mufti, Nasser. "Kipling’s Art of War." Nineteenth-Century Literature 70, no. 4 (March 1, 2016): 496–519. http://dx.doi.org/10.1525/ncl.2016.70.4.496.
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Nasser Mufti, “Kipling’s Art of War” (pp. 496–519) This essay looks at the British empire’s most ambitious years, when it saw Britain and its settler colonies as belonging to a global nation-state, most commonly referred to as “Greater Britain.” The apex of this imperial-national imagination came with the outbreak of the Second Anglo-Boer War, which jingoists like Arthur Conan Doyle and Rudyard Kipling celebrated as a civil war because it was seen to be a conflict between the “blood brotherhood” of empire: Britons and Boers. Hence the characterization of the Boer War as “the last of the gentleman’s wars” or “a sahibs’ war,” because it was said to be fought between the civilized fellow-citizens of the British empire. But Kipling also had to confront the fact that British and Boer tactics were decidedly “ungentlemanly” at the war front. I turn to his short story “A Sahibs’ War” (1901), which is especially concerned about the “gentleman’s war” in South Africa looking identical to anticolonial wars in Afghanistan and Burma, which in Kipling’s mind were barbaric frontier conflicts. Kipling registers this ambivalence between civil and colonial war in the language of his story, which strategically puns across English, Afrikaans and Urdu/Hindi. These translingual puns make legible and sensible the tensions between the intra-national and extra-national, domestic and foreign, civil and imperial that characterized Greater British discourse at the turn of the century.
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Hilton, Alison. "From Abramtsevo to Zakopane: Folk Art and National Ideals in Russia and Eastern Europe." Russian History 46, no. 4 (December 23, 2019): 241–61. http://dx.doi.org/10.1163/18763316-04604002.
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Abstract Folk art revivals were incubators for modernist movements in painting, sculpture, architecture, applied arts, and performing arts. The upsurge of national sentiment in late Imperial Russia and official economic support of handicraft industries (known as kustar’) promoted the marketing of wood crafts and textiles made at Abramtsevo, Talashkino, and other centers in western Russia and Ukraine. Parallel developments drew upon both folk traditions and patriotic ideals in the central and eastern European countries that had suffered territorial encroachments by Russia, Prussia, and the Austro-Hungarian Empire. Artists’ groups and art colonies showed special respect for regional landscapes, peasant communities, and local artistic traditions. Their activities reflected nationalist ideologies, as well as practical, economic, and philanthropic concerns. The variety of circumstances and motivations sheds light on the phenomena of art colonies, new valuations of applied art forms, and the enduring importance of education in traditional crafts.
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Jiang, Qiuyue. "Temporal Design of Art Painting Landscape Based on Ant Colony Optimization Algorithm." Journal of Physics: Conference Series 2425, no. 1 (February 1, 2023): 012013. http://dx.doi.org/10.1088/1742-6596/2425/1/012013.
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Abstract In the long history of painting, art research in each period will also reflect on the current situation and future improvement. Inspired by the group behavior of natural insect communities, to find the shortest path between insect nests and food, a simulated evolutionary algorithm ant colony algorithm is proposed to simulate the foraging behavior of natural ant colonies. This paper studies the temporal design based on ant colony optimization algorithm. Time is an inseparable part of landscape design. With the continuous progress of time, various landscape characteristics have also been formed. The purpose of this paper is to provide theoretical and practical support for the improvement of art painting landscape design from the perspective of time. The ant colony optimization algorithm is used to analyze and analyze the values of the algorithm parameters.
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Roque, Ricardo. "Transnational Isolates: Portuguese Colonial Race Science and the Foreign World." Perspectives on Science 30, no. 1 (January 2022): 108–36. http://dx.doi.org/10.1162/posc_a_00404.
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Abstract This article examines scientific transnationalism as an art of engagement with, and avoidance of, the threats and promises of what was foreign to the nation. Portuguese racial anthropologists experienced a tension between remaining imperial-nationalistic in character, and internationalist in their activities simultaneously. They struggled to exclude foreigners from colonial field sites; they aimed at nativist authority based on total control of colonial data. Yet, they eagerly sought connections with foreign experts to capitalize provincial scientific authority within Portugal’s colonies. The essay conceptualizes this mode of transnationalism as also a kind of isolationism, an inward oriented form of engaging with foreign sciences and scientists as ambivalently powerful and threatening strangers.
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ALDRICH, ROBERT. "IMPERIAL MISE EN VALEUR AND MISE EN SCÈNE: RECENT WORKS ON FRENCH COLONIALISM." Historical Journal 45, no. 4 (December 2002): 917–36. http://dx.doi.org/10.1017/s0018246x0200273x.
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This review looks at English- and French-language books on nineteenth- and twentieth-century French colonial history published since 1995. It considers issues of ideology, imperial governance, the mise en valeur (development and ‘improvement’) of colonies (for instance, in health and education policy), the representation of empire in art and architecture, and decolonization. Special attention is paid to Indochina. Recent works have stressed the evolving nature of colonial policy and its adaptability to local circumstances. The review notes a certain divide between works emphasizing the discursive aspect of empire, and more ‘materialist’ treatments, but remarks on a general renewal of interest in colonial history. Contemporary scholars have also given colonial history a more prominent position in French national history than it previously held.
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Treier, Leonie. "Architectures of Appropriation." Museum Worlds 10, no. 1 (July 1, 2022): 14–30. http://dx.doi.org/10.3167/armw.2022.100103.
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The Maisons Tropicales are three prefabricated housing structures designed by Jean Prouvé. Fabricated in France, they were transported to and assembled in Brazzaville and Niamey, then part of the French colonies, around 1950. Their design was tied closely to the belief in the so-called civilizing and enlightening power of European modernist design and, thereby, also the French colonial agenda. In the early 2000s, an American collector, Robert Rubin, and a French art dealer, Eric Touchaleaume, “repatriated” the houses to France. There, they were transformed into and celebrated as icons of French modern design, while their colonial histories were ignored. This article analyzes the importance of discourse in this transformation and how it reflects ongoing dynamics of power and dispossession in the art world. Rubin and Touchaleaume simultaneously employed conflicting narratives mirroring anthropological “salvage” and “repatriation” discourses to describe the Maisons’ removal. The case study highlights the moral weight associated with the language around processes of repatriation, the nested relationships between heritage and the market, and the continuation of colonial practices of dispossession.
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Chu, Chao Chi. "Capturing the South Sea Mirage." Re:Locations - Journal of the Asia-Pacific World 3, no. 2 (August 25, 2020): 51–62. http://dx.doi.org/10.33137/relocations.v1i1.33506.
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Paul Jacoulet (1896–1960) is one of Japan’s most peculiar modern print artists, not only because of his identity as a French man but because of his profuse depictions of exotic natives from the South Sea islands. From the start of his artistic career, Jacoulet made several excursions to Japan’s recently acquired pacific colonies to record the people of Micronesia through drawing, which he published into colorful prints that showcase his iconic incorporation of both Western and traditional Japanese art. Scholars often described Jacoulet’s thematic interest as part of a larger trend of Japanese artists traveling overseas or the French artist’s personal fascination with Paul Gauguin’s travels to Tahiti. I argue, however, that the artist’s objective in his travels is to capture a disappearing culture that echos Japan’s own struggle with its evaporating culture in its transition into a modern colonial power. Even though Paul Jacoulet depicted various Asian- Pacific cultures within his prints, it was his South Sea series that especially resonated with his Japanese audiences as it portrayed the Pacific islands as a beautiful and simpler world that’s slowly fading away, conveying a sense of melancholy and nostalgia for a more colorful past for the Japanese. This paper combines art historical analysis with colonial studies to explore Japan’s cultural connection with its Micronesian colonies within the prints of Paul Jacoulet: how the artist purposefully incorporates Japanese artistic conventions in his portrayal of the South Sea that allows him to juxtapose two seemingly contrasting cultures and highlights the interactions between Japan and the South Seas as colonizer and colonized.
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Beurden, Jos van. "Colonial collections, restitution and issues of inequality." Decolonizing academic disciplines and collections 52-1 (2024): 53–62. http://dx.doi.org/10.4000/11zlr.
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This contribution raises three questions about collections from colonial regions. One is about the division of the power over the provenance research into such collections between the Global North and the Global South. A second is about the silence of art dealers and private collectors in the Global North about their possessions and how they were acquired, which makes it hard for former colonies to know about them. The third is about how governments in the Global South on the one hand and traditional royal houses, communities of origin and other sub-statal actors on the other deal with collections after their return.
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Jacob, Christian J., Gerald Hushlak, Jeffrey E. Boyd, Paul Nuytten, Maxwell Sayles, and Marcin Pilat. "SwarmArt: Interactive Art from Swarm Intelligence." Leonardo 40, no. 3 (June 2007): 248–54. http://dx.doi.org/10.1162/leon.2007.40.3.248.
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Swarms of bees, colonies of ants, schools of fish, flocks of birds, and fireflies flashing synchronously are all examples of highly coordinated behaviors that emerge from collective, decentralized intelligence. Local interactions among a multitude of agents or “swarmettes” lead to a variety of dynamic patterns that may seem like choreographed movements of a meta-organism. This paper describes SwarmArt, a collaborative project between several computer scientists and an artist, which resulted in interactive installations that explore and incorporate basic mechanisms of swarm intelligence. The authors describe the scientific context of the artwork, how user interaction is provided through video surveillance technology, and how the swarm-based simulations were implemented at exhibitions and galleries.
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Grice, Elizabeth Le. "From Hepworth to Wallis, from the Tamar to Land’s End: Cornwall Art Library flies the flag for Cornish art." Art Libraries Journal 37, no. 1 (2012): 24–28. http://dx.doi.org/10.1017/s0307472200017302.
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How does Cornwall Art Library support the cultural life of a county that is a magnet for tourists but has continuing economic problems? The historical background to the development of the internationally renowned art ‘colonies’ in West Cornwall illustrates how the libraries have become embedded within this history. Various initiatives from Cornwall Council should establish the county as a highly networked, vibrant and creative place, which will contribute to its future regeneration. Can the Library continue to reinvent resources in order to combine with the artistic community as a crucial part of the local economy?
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DESIREE ROBERT, JENNA. "POSTCOLONIAL CRITICISM IN SABAH: A REVIEW." BORNEO AKADEMIKA 5, no. 1 (June 1, 2021): 34–40. http://dx.doi.org/10.24191/ba/v5i1/49882.
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Sabah, formerly known as North Borneo during the period of British colonisation from 1888- 1963 produced many texts about the British presence and their activities on the island. This review highlights that the post-war studies especially Sabah’s colonial literature is the missing link to its alternative history. Colonial literature has left its legacy in the form of history, anthropology and art but also in the textual and literary representations of Sabah through a western lens. The critique of colonial fiction and non-fiction texts in former colonies in Malaya and Sarawak have paved the way for critical examination and commentary on the modes of representation of the indigenous and immigrants. This review discusses the highlights of postcolonial criticism in Malaysia. It briefly introduces some of the issues about postcolonial criticism in Sabah and its potential.
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Beck, Lauren, and Alena Robin. "Latin American Art, Visual and Material Culture in the Long Eighteenth Century: An Introduction." Arts 10, no. 4 (November 12, 2021): 76. http://dx.doi.org/10.3390/arts10040076.
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The temporal frame of this Special Issue of Arts—the long eighteenth century—comprises a complex period of development in the Spanish colonies of Latin America that reverberates throughout the region’s visual culture [...]
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Sherinov, Zhavat, Ahmet Ünveren, and Adnan Acan. "Imperialist Competitive Algorithm with Updated Assimilation for the Solution of Real Valued Optimization Problems." International Journal on Artificial Intelligence Tools 27, no. 02 (March 2018): 1850005. http://dx.doi.org/10.1142/s0218213018500057.
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In this paper, an improved imperialistic competitive algorithm is presented for real-valued optimization problems. A new method is introduced for the movement of colonies towards their imperialist, which is called assimilation. The proposed method uses Euclidean distance along with Pearson correlation coefficient as an operator for assimilating colonies with respect to their imperialists. Applications of the proposed algorithm to classical and recently published hard benchmark problems, and statistical analysis associated with the corresponding experimental results illustrated that the achieved success is significantly better than a number of state-of-the art methods.
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Adamova, Valeria Vladislavovna, Eduard Anatol Snegin, and Anatoliy Sergeevich Barkhatov. "Demographic and spatial structure of invasive xerophilous snails colonies in the territory of Belgorod." Principles of the Ecology 28, no. 3 (September 2018): 4–12. http://dx.doi.org/10.15393/j1.art.2018.7942.
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Boufalis, Angelos. "Ionic Art and Script in Archaic Macedonia: Origin(s), Medium(s), Effect(s)." Tekmeria 18 (February 2, 2024): 151–212. http://dx.doi.org/10.12681/tekmeria.36758.
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It is widely assumed that Macedonia in the late Archaic period was under East Greek influence. This view was formed decades ago, based on scant evidence, but has since been established through repetition and persists despite the growing number of reported and published finds that indicate otherwise. In this paper I intend to challenge this opinio communis and to reframe the issue of Ionic influence in archaic Macedonia within the wider Northern Aegean context. To this end, the relevant pieces of evidence are reviewed, focusing on works of sculpture in the Ionic style and inscriptions in Ionic script, but also examining the coinage in the name of Alexander I. In short, it is demonstrated that the available pieces of evidence do not support widespread East Greek influence in Macedonia in the late Archaic period and it is argued that it was rather through the Cycladic colonies in the Strymonic Gulf that Ionic art reached Macedonia; that mostly Ionians from these colonies were responsible for the inscriptions in Ionic script in Macedonia; and that it was possibly a Central, not East, Ionic script that was employed on Alexander I’s coinage.
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Tananaeva, L. I. "Reflections on the Сoncept of Style in the Colonial Art of Latin America From the XVI<sup>th</sup> Through the XVIII<sup>th</sup> Century." Cuadernos Iberoamericanos 11, no. 2 (July 19, 2023): 49–74. http://dx.doi.org/10.46272/2409-3416-2023-11-2-49-74.
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Latin American art is extremely controversial and hard to analyze. To every thesis put forward by the researcher, an antithesis immediately arises. Formation and evolution of the colonial artistic style in Latin America from the XVIth through the XVIIIth century is always a challenge and, at the same time, an incentive for scholarly research, since it is a synthesis of styles borrowed from European art, first and foremost from Spain and Portugal, in the period lasting from the Middle Ages to Modern Times. The colonial powers served as a go-between in the process of adaptation, rooting and further development in Latin America of such regional styles as Mudéjar, Plateresque, Isabelino, Manueline, Churrigueresco, which left a profound imprint on the artistic culture of the New Continent. These artistic styles, embodied in architecture, decorative and monumental-decorative art of the colonies, underwent transformations as the cultural patterns of indigenous peoples started to resurge.Latin American Baroque was developed in the colonial Peru, by the so-called Andean school. The rich decoration of churches, the gilded ornaments, the carnival of images of all sorts testify to the fact that the indigenous artists had a view of their own of the cultural codes of the European world. By the end of the colonial period, when national identity was already solidly established in Latin America, local elements began to influence the borrowed European styles to an even greater extent, imbuing them with their own special pictorial vision, coining new and unique genres of their own. Those architectural and decorative configurations, modified in accordance with local traditions, with their original worldview and perception of beauty, paved the way to original Latin American artistic patterns that enabled them to transgress the boundaries, from the realm of artistic dialects to that of independent national styles.
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Blake, J. "The Truth about The Colonies, 1931: Art indigene in Service of the Revolution." Oxford Art Journal 25, no. 1 (January 1, 2002): 35–58. http://dx.doi.org/10.1093/oxartj/25.1.35.
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Metayer, Myriam. "Art national ou art universel ? L’impérialisme des manuels et des synthèses publiés en Italie et en France : une relecture postcoloniale." Studiolo 13, no. 1 (2016): 264–83. http://dx.doi.org/10.3406/studi.2016.1041.
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On ne peut ignorer, aujourd’hui, la représentation universalisante des synthèses d’histoire de l’art. La rhétorique impérialiste de ces ouvrages est partagée par leurs équivalents italiens, les manuels scolaires d’histoire de l’art. Tous offrent une place marginale aux arts des colonies d’Afrique du Nord qui, loin de constituer une catégorie, sont au contraire associés à des entités territoriales et culturelles plus étendues : l’empire romain d’une part, le monde oriental d’autre part. L’étude évalue ainsi l’articulation entre les notions d’art national et d’art universel dans le grand récit – «narration à fonction légitimante » telle que définie par Jean-François Lyotard – que l’histoire de l’art concrétise, en France et en Italie, dans la rédaction et la publication d’études généralistes. La lecture des ouvrages convoqués est opérée à la faveur des apports du postcolonialisme dans l’objectif d’analyser l’histoire, la forme et le contenu de deux traditions narratives.
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Ayres, Isabel. "Viewpoint: Art information in Latin America." Art Libraries Journal 40, no. 3 (2015): 3–4. http://dx.doi.org/10.1017/s0307472200000286.
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Several museums and libraries in North America and Europe house in their collections expressive works of art from Latin America. An understanding of the source of such collections requires study of their history and of the background from which they come, even if, as a matter of fact, collecting works of art and bibliographical assets on such a theme is not new. The interest in studying artworks which do not belong to the so-called western canon enables a wider knowledge of the art in Latin America. Notwithstanding the reasons behind such interest, it is worth noting that some facts related to their development are still lively, such as the interests roused by the travelling artists in the 19th century, who departed in search of the unknown or exotic and came back to their homeland with an imagination full of images from the New World. It is undeniable that Latin America has had a key role in the major changes that occurred during the age of discovery, when Europe focused on its colonies. Nowadays, as we observe the recurrence of such a foreign look at Latin America, we might ask ourselves how Latin America sees itself.
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Cañizares Esguerra, Jorge. "Spanish America in Eighteenth-Century European Travel Compilations: a New "Art of Reading" and the Transition To Modernity." Journal of Early Modern History 2, no. 4 (1998): 329–49. http://dx.doi.org/10.1163/157006598x00018.
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AbstractBy the mid-eighteenth century sixteenth-century Spanish American testimonies on the New World suddely lost credibility with European audiences. This study seeks to explain this curious episode and traces it to new developments in ways to create and validate knowledge in early modern Europe. The genre of travel accounts proved instrumental in undermining the authority of Spanish accounts. Editors of travel compilations developed a "new art of reading" that privileged "internal" over "external" criticism. If in the past editors apportioned credit according to the number, character, and social standing of witnesses and favored knowledge gathered personally through the senses, by the mid-eighteenth century editors read accounts in the light of contemporary social theories : those accounts that proved inconsistent with the theories of political economy were dismissed. The reliability of sixteenth century Spanish eyewitnesses on the grandeur of the Aztec and Inca civilizations was called into question because these witnesses were deemed incapable of regulating their perceptions through reason (good taste). Since the new art of reading deployed by editors of travel compilations emerged out of a close dialogue between Europe and its colonies, this study shows the deep colonial roots of European modernity.
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Quiñones-Otal, Emilia. "Women’s bodies as dominated territories: Intersectionality and performance in contemporary art from Mexico, Central America and the Hispanic Caribbean." Arte, Individuo y Sociedad 31, no. 3 (July 1, 2019): 677–93. http://dx.doi.org/10.5209/aris.61786.
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Since the 1970s, artists from Central America, Mexico and the Hispanic Caribbean have explored the connection between imperialism and gender violence through innovative artistic proposals. Their research has led them to use the female body as a metaphor for both the invaded geographical territory and the patriarchal incursion into women’s lives. This trend has received little to no attention and it behooves us to understand why it has happened and, more importantly, how the artists are proposing we examine this double violence endured by the women who live or used to live in countries with a colonial present or past. The resulting images are powerful, interesting, and a great contribution to Latin America’s artistic heritage. This study proposes that research yet to be done in other Global areas where colonies has been established, since it is possible that this trend can be understood, not only as an element of the Latin American artistic canon, but also integral to all of non-Western art.
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Stewens, Paul P., Nussaïbah B. Raja, and Emma M. Dunne. "The Return of Fossils Removed Under Colonial Rule." Santander Art and Culture Law Review 8, no. 2 (December 30, 2022): 69–94. http://dx.doi.org/10.4467/2450050xsnr.22.013.17026.
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Debates on the restitution of colonial loot usually focus on art, antiquities, religious artefacts, and similar objects. Many fossils of considerable scientific and cultural value were also removed under colonial rule, yet they rarely feature in these discussions despite being classified as cultural objects. This article seeks to shed light on the colonial removal of fossils and explore potential avenues for their return under public international law. Instead of focusing on the (il-)legality of colonial takings, we argue that the right to access culture has developed from the right to participate in cultural life in Article 15(1)(a) of the International Covenant on Economic, Social and Cultural Rights (ICESCR), which provides, if not a solid legal basis, a valuable set of arguments for former colonies requesting the return of fossils looted from their countries/territories of origin. The case study of the negotiations on the return of the Broken Hill skull before the UNESCO Intergovernmental Committee for Promoting the Return of Cultural Property to its Countries of Origin or its Restitution in Case of Illicit Appropriation (ICPRCP) highlights the potential of this mechanism of dispute resolution with respect to fossils.
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Macouin, Francis. "De l’Indochine a l’Afghanistan: des arts etrangers dans les bibliotheques Parisiennes." Art Libraries Journal 18, no. 2 (1993): 26–33. http://dx.doi.org/10.1017/s0307472200008312.
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French interest in India and neighbouring regions dates back to the 17th century. Oriental studies developed as a distinct discipline through the 19th century, stimulated in France by French colonial activities in Indochina, and culminating at the end of the century in the emergence of Oriental art and archaeology as a subject in its own right. The Commission Archéologique de l’Indochine was established in 1898, and became the Ecole Francaise d’Extrême-Orient (EFEO) in 1901 with responsibility for listing and protecting antiquities in the French colonies; its library in Paris constitutes a major resource. France’s relationship with Afghanistan facilitated French archaeological activities in that country until 1975; archaeological finds enabled the Musée Guimet to extend its scope and to become a museum of Asiatic art, and its library became and remains the major library in Paris so far as Asian art is concerned. The library of the Ecole du Louvre supports courses on Asian art, while the Bibliothèque Nationale and such libraries as the Bibliothèque Forney also contain valuable collections. Photographic collections in some of these institutions have not been so well looked after as books, and their condition is a matter of concern. Unpublished archival materials are also held in some of the same institutions. The resources of a number of smaller, specialised institutes are currently being brought together in a new building under the name ‘Institute d’Asie du Collège de France’, while some other collections are being linked with the library of the EFEO to create a ‘Bibliothèque d’Asie’. Meanwhile it remains to be seen whether the new Bibliothèque Nationale des Arts will include the arts of Asia within its scope. No library in France has responsibility for modern Indian art. (An English translation follows the text in French).
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Ferris, Lesley. "THE CHALLENGES OF ARCHIVING AND RESEARCHING CARNIVAL ART." Theatre Survey 50, no. 1 (April 22, 2009): 127–34. http://dx.doi.org/10.1017/s0040557409000106.
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The fact that live performance is unrepeatable is both its greatest attribute and a constant worry to theatre historians. How is it possible to study an art form that is fleeting, short-lived, ephemeral? Nowhere is the challenge more acute than with Carnival, a popular art form that comes from the grassroots and is acknowledged as an art of resistance. Initiated by newly emancipated Africans in British colonies in 1834, Caribbean-derived Carnival struggled against endless confrontations with governmental authorities for its survival. In 1962, when Trinidad and Tobago achieved independence from Britain, the country's first prime minister, Eric Eustace Williams, recognized Carnival as the national art form. Despite this recognition, Carnival artists continue to struggle because of lack of funding, misrepresentation in the press, and lack of appropriate credit for their role as artists. So it is particularly gratifying to find the National Library of Trinidad and Tobago leading the way by making the work of Carnival artists available digitally on its Web site. This essay examines this new online resource and considers issues related to studying and researching Carnival.
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Hudovsek, Oksana. "ОСОБЛИВОСТІ ЕСТЕТИЧНОГО ВИХОВАННЯ МОЛОДШИХ ШКОЛЯРІВ У ЗАКЛАДАХ ПОЗАШКІЛЬНОЇ ОСВІТИ УКРАЇНИ КІНЦЯ ХІХ – ПОЧАТКУ ХХ СТОЛІТТЯ." Педагогічна наука і освіта ХХІ століття, no. 1 (May 1, 2024): 90–98. http://dx.doi.org/10.35619/pse.vi1.8.
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The article is devoted to the peculiarities of aesthetic education of primary schoolchildren in out-of-school educational institutions of Ukraine at the end of the 19th ft the beginning of the 20th century. It is emphasized that the issue of aesthetic education of primary schoolchildren is very important in the current conditions of social development, when social contradictions are aggravated, national values and ideals are in the process of disappearing, and immoral behavior is widespread among young people. It is outlined that aesthetic education is aimed at attracting primary schoolchildren to the treasures of spiritual and artistic culture, to the world of moral values through the formation of aesthetic concepts, tastes, ideals. It develops the creative abilities of the individual and is closely connected with the cultural life of the society. It was determined that the Hlukhiv Music (Singing) School, Kharkiv Singing School, the Kamianets-Podilskyi art boarding school for rural children in the 19th century was directly involved in the aesthetic education of children. The significant contribution to the development of the theory and practice of aesthetic education of the Kyiv Regional Pedagogical Society «Prosvita» and teachers’ congresses is established. It is emphasized that at the beginning of the 20th century, the aesthetic education of primary schoolchildren was realized both within specially created out-of-school artistic and aesthetic education institutions (children’s clubs, children’s playgrounds, children’s theaters, libraries, art education centers, art studios, pioneer palaces etc.), and in institutions of social upbringing of children (orphanages, children’s villages, communities, colonies for orphans, semi-boarding schools, day centers, summer colonies).
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Lu, Mingli, Di Wu, Yuchen Jin, Jian Shi, Benlian Xu, Jinliang Cong, Yingying Ma, and Jiadi Lu. "A Novel Gaussian Ant Colony Algorithm for Clustering Cell Tracking." Discrete Dynamics in Nature and Society 2021 (September 24, 2021): 1–15. http://dx.doi.org/10.1155/2021/9205604.
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Cell behavior analysis is a fundamental process in cell biology to obtain the correlation between many diseases and abnormal cell behavior. Moreover, accurate number estimation plays an important role for the construction of cell lineage trees. In this paper, a novel Gaussian ant colony algorithm, for clustering or spatial overlap cell state and number estimator, simultaneously, is proposed. We have introduced a novel definition of the Gaussian ant system borrowed from the concept of the multi-Bernoulli random finite set (RFS) in the way that it encourages ants searching for cell regions effectively. The existence probability of ant colonies is considered for the number and state estimation of cells. Through experiments on two real cell sequences, it is confirmed that our proposed algorithm could automatically track clustering cells in various scenarios and has enabled superior performance compared with other state-of-the-art approaches.
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Rošker, Anja. "Disappearing object?" Maska 30, no. 172 (July 1, 2015): 174–81. http://dx.doi.org/10.1386/maska.30.172-174.174_5.
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The Live Art Almanac Volume 3 brings together various genres of texts written on live art in 2011 and 2012. The systematisation of chapters is telling since we are introduced into the book by a selection of contributions on the relation between live art and institutions which, based on works by artists such as Marina Abramović, Tino Sehgal and La Ribot, show the ambivalence of the modern age torn between the tendency to preserve and materialise the transient and the tendency towards constant continued movement. The Almanac continues with a chapter on performance art in mass media and pop culture. It thus raises the question of the influence of capitalism on performance art since the constant attempts at objectivizing disappearing events coincide with the predominating consumerist mentality of the West. This chapter is followed by a series of discussions on politically engaged art that trace the difference between performance in the West and performance in former colonies. The Almanac concludes its dramaturgical arch with essays on death rituals, thus opening the question of the “survival” of the live in the age of consumer products. The Live Art Almanac 3 is a sort of an archive of live art that offers the reader material for further research and thus, in accordance with the Western archive fever, builds the foundations for new beginnings.
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Shen, Xiao, Wenwen Song, Simon Sevsek, Yan Ma, Claas Hüter, Robert Spatschek, and Wolfgang Bleck. "Influence of Microstructural Morphology on Hydrogen Embrittlement in a Medium-Mn Steel Fe-12Mn-3Al-0.05C." Metals 9, no. 9 (August 24, 2019): 929. http://dx.doi.org/10.3390/met9090929.
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The ultrafine-grained (UFG) duplex microstructure of medium-Mn steel consists of a considerable amount of austenite and ferrite/martensite, achieving an extraordinary balance of mechanical properties and alloying cost. In the present work, two heat treatment routes were performed on a cold-rolled medium-Mn steel Fe-12Mn-3Al-0.05C (wt.%) to achieve comparable mechanical properties with different microstructural morphologies. One heat treatment was merely austenite-reverted-transformation (ART) annealing and the other one was a successive combination of austenitization (AUS) and ART annealing. The distinct responses to hydrogen ingression were characterized and discussed. The UFG martensite colonies produced by the AUS + ART process were found to be detrimental to ductility regardless of the amount of hydrogen, which is likely attributed to the reduced lattice bonding strength according to the H-enhanced decohesion (HEDE) mechanism. With an increase in the hydrogen amount, the mixed microstructure (granular + lamellar) in the ART specimen revealed a clear embrittlement transition with the possible contribution of HEDE and H-enhanced localized plasticity (HELP) mechanisms.
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Ishigeev, Vladimir S., Anastasiya V. Puzikova, and Vadim L. Lapsha. "Some Issues of Qualifying Actions Disorganizing the Activities of Institutions Providing Isolation From Society (Article 321 of the Criminal Code of the Russian Federation)." Ugolovnaya yustitsiya, no. 18 (2022): 18–21. http://dx.doi.org/10.17223/23088451/18/3.
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Crimes committed in correctional institutions pose a serious problem, undermining the penitentiary system, preventing the attainment of the punishment objective, destabilizing the situation in the institutions of confinement, adversely impacting the behavior of convicts. Currently, 58% of convicts in the institutions of confinement have been convicted more than once; 47% are serving their sentences for committing grave and especially grave crimes; numerous negative groupings are formed in correctional colonies, adhering to the criminal traditions. Two forms of criminal activity - organized and common - have merged in the places of confinement with their “ideology of the underworld”. Together with that, the ideology of the underworld results in a kind of “seizure of power”, when correctional colonies and their contingent begin to serve sentences by correctional law, i.e. nowadays, there is a confrontation of “us and them”. The correctional colonies operating according to the norms of “criminal subcultures” are defined as “black”, while those operating by the norms of the correctional law and the Internal Regulations are defined as “red”. The task of the “criminalist” is to spread their influence over the majority of convicts in order to seize power in correctional institutions. One of such actions of convicts in the institutions of confinement aimed at reorienting correctional colonies is disorganizing the activities of the institutions that ensure isolation from society. Though the actions to disorganize the activities make only 2-3% of the total number of crimes in the institutions of confinement, they are of a high social danger and cause significant harm to the correction of convicts and crime prevention. It should not be forgotten that an important role in the prevention of crimes in the institutions of confinement belongs to criminal law measures, since Part 1 of Art. 2 of the Criminal Code of the Russian Federation provides for the preventive function of criminal legislation, yet the guaranteed fight against crime depends on the content of the criminal law norm and the level of law enforcement. Based on the name of Art. 321 of the Criminal Code of the Russian Federation, it is clear that this criminal law norm regulates and protects such social relations that are designed to ensure the activities of institutions executing criminal sentences in the form of imprisonment by court verdict.
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VIALETTE, AURÉLIE. "Teaching the Art of Colonization: Race Politics and Agricultural Colonies in the Nineteenth-century Philippines." Bulletin of Hispanic Studies 100, no. 1 (January 2023): 15–31. http://dx.doi.org/10.3828/bhs.2023.4.
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Owen, James. "Exporting the Westminster model: MPs and Colonial Governance in the Victorian era." Britain and the World 7, no. 1 (March 2014): 28–55. http://dx.doi.org/10.3366/brw.2014.0119.
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While the role of British colonial governors has been subject to recent extensive analysis, the collective phenomenon of Victorian Members of Parliament taking up gubernatorial office remains largely unaddressed. Between 1828 and 1868, 38 former MPs were appointed to colonial governorships. With metropolitan administrators, who believed in the superiority of British institutions, seeking to introduce greater colonial self-government from the 1830s onwards, the careers of these former MPs offer a direct and personal example of the challenges of exporting the Westminster style of politics to the British world. This article analyses the extent to which MPs, who became colonial governors, drew on their experiences of Westminster culture, particularly the art of negotiating the public and private spheres of political life, when attempting to introduce self-government to their respective colonies. Four MPs with varying political experience are considered: Charles Poulett Thomson, governor-general of Canada, 1839–41; Arthur Hamilton Gordon, lieutenant-governor of New Brunswick, 1861–66; Sir Charles Edward Grey, governor of Jamaica, 1847–53, and his successor, Sir Henry Barkly, 1853–56. The article argues that when these MPs enjoyed a measure of success in bargaining with a colonial assembly, it was because they were able to cultivate an effective public persona while exploiting, through private correspondence, their connections with former colleagues at Westminster.
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Pyenson, Lewis. "The Enlightened Image of Nature in the Dutch East Indies: Consequences of Postmodernist Doctrine for Broad Structures and Intimate Life." Historical Studies in the Natural Sciences 41, no. 1 (2011): 1–40. http://dx.doi.org/10.1525/hsns.2011.41.1.1.
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Eighteenth-century natural-history illustration in the Dutch East Indies reveals verisimilitude as a goal shared between colonial artists and their counterparts in Europe. Natural-history images more generally exhibit common styles in the world settled and dominated by Europeans. Apparently dramatic differences in the local settings of the artists produced only trivial variations in representing nature pictorially, in just the way that astronomy and physics in the European colonies and spheres of influence departed hardly at all from European practice. The overwhelming strength of disciplinary norms, in science and in art, is the standard explanation for this circumstance. An alternative explanation from social history is proposed. It centers on the hypothesis of a homology between households in colonial settings and in Europe. The alternative explanation implies that both the observatory and the artist's workshop were insensitive to superstructural variation in costume and architecture, as well as variation in climate and cuisine. The hypothesis behind the alternative explanation, designated by the term complementarity, derives directly from the postmodernist dictum that ideas are extrusions of social interactions. Nevertheless, just as the strength of disciplinary norms is unresolved in postmodernist doctrine, so complementarity directly challenges the postmodernist predilection for affirming the distinctiveness of colonial cultures.
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Schemper-Sparholz, Ingeborg, and Caroline Mang. "‘New Carrara’: Lasa marble in the service of artistic ideas and economic interests during the long nineteenth century." Sculpture Journal 30, no. 2 (November 1, 2021): 189–202. http://dx.doi.org/10.3828/sj.2021.30.2.7.
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This article discusses Lasa marble, a bright, white and weather-resistant stone quarried in South Tyrol, which in the course of the nineteenth century came to be considered equal, and even superior, to Carrara marble. Because of its quality, Lasa marble has been and continues to be exported worldwide. The article considers the ‘new Carrara’ in light of three art-historical topics: its rediscovery against the background of the intertwining of the young disciplines of geology and art history in the nineteenth century; its use and semantic quality in the context of the new buildings along the Ringstrasse in Vienna; and finally, the various projects for the establishment of artists’ colonies at the quarries of Laas, the declared objectives of which were rooted between monastic harmony and tourism-oriented calculation.
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González-Guillén, Adrián, David Berschauer, Roberto Pérez-Rivero, and Abelardo Méndez-Hernández. "The Never Spoken Poignant Connection Between Cuban Tree Snails and Carpentry/Crafts/Art: the case of Polymita and Liguus." Festivus 53, no. 2 (April 1, 2021): 128–35. http://dx.doi.org/10.54173/f532128.
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The extinction of endemic Cuban tree snail colonies are shown to be directly caused by habitat fragmentation due to deforestation. Hardwood extraction and exploitation started in the 16 th century and has steadily increased throughout the Cuban archipelago. This article is the first investigation into the connection between overexploitation of natural resources by local communities and the extinction of Cuban tree snail colonies. The authors have compiled a list of 345 hardwood trees species, many of which have been clear cut and over used by Cuban farmers, carpenters, artists and crafts people. Of those hardwood tree species, 84 species are known to be host plants for endemic Cuban Liguus and Polymita tree snails. Since the late 1960s, there has been an accelerated demand for hardwood for traditional craftworks. That demand became more aggressive after the opening of the country to international tourism in the 1990s. This desire for exotic hardwoods has endangered both the precious hardwood tree species and the endemic tree snail species that inhabit them. It is our hope that with the development of field guides on endemic Cuban hardwood tree species that educators can raise awareness of this issue while discouraging unmanaged or uncontrolled harvesting of these hardwoods in Cuba. Encouraging artists and crafts people to create miniature wood sculptures could be an alternative sustainable solution.
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Mo, Lou. "Triangulating Africa: Contemporary art as a terrain for creating China‐Africa connections." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 69–89. http://dx.doi.org/10.1386/jcca_00056_1.
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Colonization and race are important issues influencing international contemporary art practice, but related discourse is often focused with Europe or America at one end of a binary dialogue opposing the peripheries and former colonies. Since mid-twentieth century, following the independence of new nation states and events such as the 1955 Bandung Conference, there has been an increasing awareness to create new axes of sociopolitical connections. China‐Africa relations evolve from this context but remains a topic mostly studied from state-level politics and economics. Recently, artists from the Greater Chinese context have started investigating ways of understanding Africa culturally through their artworks. Pu Yingwei (mainland China), Musquiqui Chihying (Taiwan) and Enoch Cheng (HK) are three young artists whose recent works focus on creating more intimate narratives to construct an understanding of China‐Africa relations. China is introduced in the dichotomous mode of discourse, and this new triangulated focus expand the understanding of China‐Africa relations by offering more nuanced perspectives.
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Plocek, Vítězslav, Libuše Váchová, Vratislav Šťovíček, and Zdena Palková. "Cell Distribution within Yeast Colonies and Colony Biofilms: How Structure Develops." International Journal of Molecular Sciences 21, no. 11 (May 29, 2020): 3873. http://dx.doi.org/10.3390/ijms21113873.
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Multicellular structures formed by yeasts and other microbes are valuable models for investigating the processes of cell–cell interaction and pattern formation, as well as cell signaling and differentiation. These processes are essential for the organization and development of diverse microbial communities that are important in everyday life. Two major types of multicellular structures are formed by yeast Saccharomyces cerevisiae on semisolid agar. These are colonies formed by laboratory or domesticated strains and structured colony biofilms formed by wild strains. These structures differ in spatiotemporal organization and cellular differentiation. Using state-of-the-art microscopy and mutant analysis, we investigated the distribution of cells within colonies and colony biofilms and the involvement of specific processes therein. We show that prominent differences between colony and biofilm structure are determined during early stages of development and are associated with the different distribution of growing cells. Two distinct cell distribution patterns were identified—the zebra-type and the leopard-type, which are genetically determined. The role of Flo11p in cell adhesion and extracellular matrix production is essential for leopard-type distribution, because FLO11 deletion triggers the switch to zebra-type cell distribution. However, both types of cell organization are independent of cell budding polarity and cell separation as determined using respective mutants.
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Feraru, Remus Mihai. "Moirele in coloniile grecesti de pe tarmul vestic al Pontului Euxin. Cult, reprezentare iconografica si credinte populare." Banatica 1, no. 33 (2023): 87–103. http://dx.doi.org/10.56177/banatica.33.1.2023.art.04.
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The cult of Moirai/ Moerae, their iconography, and the popular faith concerning the goddesses of destiny in the Greek colonies on the western shore of the Pontus Euxinus make the subject of the present study. Our research is based on the study of epigraphic, literary, and archeaological (votive bas‑reliefs) documents. The cult of the Moirai is certainly certificated in Naulochos (the modern Obzor, in Bulgaria) and at Istros where two dedications to the goddesses of destiny were found out. A votive aedicula in the temple of Aphrodite at Istros proves the relations between the Moirai and the cult of Aphrodite. The association of the Moirai with Aphrodite is confirmed by the two reliefs discovered at Panticapaion and Tyras, which present a similar composition with the one on the votive relief at Istros. The funeral epitaphs found out along the western shore of the Pontus Euxinus underline the Greeks’popular creeds related to the goddesses of destiny.
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ROBBINS, ELEANOR. "CALL OF THE COAST: ART COLONIES OF NEW ENGLAND BY THOMAS ANDREW DENENBERG AND AMY KURTZ LANSING." Art Book 17, no. 2 (May 2010): 18–19. http://dx.doi.org/10.1111/j.1467-8357.2010.01093.x.
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Hart, Ruth. "Recommended Reading: An Approach to the Treatment of Works of Art on Paper Infested with Fungal Colonies." Paper Conservator 21, no. 1 (January 1997): 87–89. http://dx.doi.org/10.1080/03094227.1997.9638601.
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Mkhitaryan, Narine Emil, and Sherly Andranik Avedian. "Architecture Stages and Features of Compositional Formations of Khachkars." Journal of Architectural and Engineering Research 2 (June 29, 2022): 52–58. http://dx.doi.org/10.54338/27382656-2022.2-008.
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The article touches upon the origin of khachkar art, symbolism, stages of compositional development, as well as characteristics of artistic means. Since the 9th century, khachkar art has become a means of expressing the spiritual aspirations, religious perceptions and ideas of the Armenian nation. Thousands of khachkars, being one of a kind, are scattered not only throughout the Republic of Armenia and Arcakh, but also in the territory of Historical Armenia, including Turkey and Nakhichevan, as well as the Armenian colonies. Unfortunately, thousands of khachkars have been destroyed by vandals, who have tried and are trying to erase the Armenian trace outside the territory of present-day Armenia. The study aims at systematical presentation of the sequence of the phased development of khachkars, the compositionl, ornamental and national features typical of each period. We think that any research devoted to those purely Armenian monuments is still up-to-date and can enrich the list of scientific works dedicated to Armenian culture.
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Fasina, Ebun Phillip, Babatunde Alade Sawyerr, and Shuaibu Babangida Alkassim. "Foraging Bee Optimization Algorithm." IJIEM - Indonesian Journal of Industrial Engineering and Management 4, no. 2 (June 30, 2023): 99. http://dx.doi.org/10.22441/ijiem.v4i2.20275.
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Honey bee colonies depend on pollen and nectar from flowers for their feed. The act of searching for this flowers by the bees is called foraging. The foraging behaviour of bees depends on the profitability of nectar and pollen sources as well as the needs of the colony. This behaviour is modeled into an algorithm called Foraging Bee Optimization Algorithm (FBA). After initialization, the algorithm loops through three phases based on bees’ nature foraging behaviour called the 3W: Waggle, Work, and Withdraw. A large number of flowers are initialized randomly in the problem space. During the waggle phase, bees are recruited to patch with profitable nectar sources. In the work phase, new flowers are discovered and memorized by bees. In the withdraw phase bees eliminate unprofitable flowers and recalibrate for recruitment. The proposed FBA is tested on three unimodal and twelve multimodal benchmark. The result is compared with two state-of-the-art natured-inspired optimization algorithm.
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Yurtkuran, Alkın, and Erdal Emel. "A Modified Artificial Bee Colony Algorithm forp-Center Problems." Scientific World Journal 2014 (2014): 1–9. http://dx.doi.org/10.1155/2014/824196.
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The objective of thep-center problem is to locatep-centers on a network such that the maximum of the distances from each node to its nearest center is minimized. The artificial bee colony algorithm is a swarm-based meta-heuristic algorithm that mimics the foraging behavior of honey bee colonies. This study proposes a modified ABC algorithm that benefits from a variety of search strategies to balance exploration and exploitation. Moreover, random key-based coding schemes are used to solve thep-center problem effectively. The proposed algorithm is compared to state-of-the-art techniques using different benchmark problems, and computational results reveal that the proposed approach is very efficient.
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Larabi-Marie-Sainte, Souad, Reham Alskireen, and Sawsan Alhalawani. "Emerging Applications of Bio-Inspired Algorithms in Image Segmentation." Electronics 10, no. 24 (December 14, 2021): 3116. http://dx.doi.org/10.3390/electronics10243116.
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Image processing is one example of digital media. It consists of a set of operations to handle an image. Image segmentation is among its main important operations. It involves dividing the image into several parts or regions to extract vital information or identify relevant objects. Many techniques of artificial intelligence, including bio-inspired algorithms, have been used in this regard. This article collected the state-of-the-art studies presenting image-segmentation techniques combined with four bio-inspired algorithms including particle swarm optimization (PSO), genetic algorithms (GA), ant colony optimization (ACO), and artificial bee colonies (ABC). This research work aimed at showing the importance of image segmentation and its combination with these algorithms. This article provides insights on how these algorithms are adapted to image-segmentation combinatorial problems, which assist researchers to start the first hands-on application. It also discusses their setting parameters and the highly used algorithms such as PSO, GA, ACO, and ABC. The article presents new research directions in image segmentation based on bio-inspired algorithms.