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Journal articles on the topic 'Drawing and re-Drawing'

Author: Grafiati
Published: 11 January 2025

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1

James, Anton. "RE: DRAWING." Journal of Landscape Architecture 12, no. 1 (January 2, 2017): 44–59. http://dx.doi.org/10.1080/18626033.2017.1301288.

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2

Chubin, Daryl E. "Re-drawing the line." Science and Engineering Ethics 7, no. 4 (December 2001): 611–14. http://dx.doi.org/10.1007/s11948-001-0017-7.

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3

Gordon-Weeks, Phillip R. "Actin dynamics: re-drawing the map." Nature Cell Biology 6, no. 5 (May 2004): 390–91. http://dx.doi.org/10.1038/ncb0504-390.

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4

Headlam, Dave. "Re-drawing boundaries: The Kronos Quartet." Contemporary Music Review 19, no. 1 (January 2000): 113–40. http://dx.doi.org/10.1080/07494460000640161.

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5

Ardianta, D. A., Y. A. Yatmo, and P. Atmodiwirjo. "(Re)drawing The Community-based Environment." IOP Conference Series: Earth and Environmental Science 1268, no. 1 (December 1, 2023): 012043. http://dx.doi.org/10.1088/1755-1315/1268/1/012043.

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Abstract This paper argues that the ‘continuous idea’ is related to community-based environmental quality improvement. This argument is based on the view that environmental conditions do not start from a blank canvas that is responded to with new ideas that are finished, but rather a canvas that has traces of previous ideas and should be positioned as an unfinished condition. The act of re-reading, re-defining, and re-articulating will encourage the improvement of environmental quality with the potential of the context. This study uses Kampung Ketandan, Surabaya, Indonesia, as a case study. Kampung Ketandan has undergone a process of re-articulation of its environment. The replacement and reconstruction of the joglo building in the middle of the kampung triggered an improvement in the quality of the environment in terms of cleanliness, health, and greenery. The findings of this study reveal that behind the improvement in the quality of the environment, there are essential triggers, including redrawing the idea of collaboration and the vision, which is based on the act of revisiting the idea of ownership. The findings suggest the importance of understanding and applying intransitive perspectives in maintaining environmental quality.
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6

Ruess, Simone. "Drawing and (re)acting: The creation of Movement Spaces." Drawing: Research, Theory, Practice 8, no. 1 (April 1, 2023): 81–94. http://dx.doi.org/10.1386/drtp_00107_1.

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This paper uses a case study of the performance drawing out of routine from 2017 to discuss the recording through drawing as a method for deeper understanding of movements, interactions and perceptions. Referring to the sociological concept of space as ‘relational’, this discussion of the drawing suggests that ‘space’ is experienced in a circular momentum of action and reaction, of perceiving and being perceived. Furthermore, it discusses the mutability of perception as understood through examples of other artists’ performative drawings.
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Ashraf, Nida, Ryan C. Kubat, Victoria Poplin, Antoine A. Adenis, David W. Denning, Laura Wright, Orion McCotter, et al. "Re-drawing the Maps for Endemic Mycoses." Mycopathologia 185, no. 5 (February 10, 2020): 843–65. http://dx.doi.org/10.1007/s11046-020-00431-2.

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AbstractEndemic mycoses such as histoplasmosis, coccidioidomycosis, blastomycosis, paracoccidioidomycosis, and talaromycosis are well-known causes of focal and systemic disease within specific geographic areas of known endemicity. However, over the past few decades, there have been increasingly frequent reports of infections due to endemic fungi in areas previously thought to be “non-endemic.” There are numerous potential reasons for this shift such as increased use of immune suppressive medications, improved diagnostic tests, increased disease recognition, and global factors such as migration, increased travel, and climate change. Regardless of the causes, it has become evident that our previous understanding of endemic regions for these fungal diseases needs to evolve. The epidemiology of the newly described Emergomyces is incomplete; our understanding of it continues to evolve. This review will focus on the evidence underlying the established areas of endemicity for these mycoses as well as new data and reports from medical literature that support the re-thinking these geographic boundaries. Updating the endemic fungi maps would inform clinical practice and global surveillance of these diseases.
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8

Beattie, Alan, and Dilys Went. "Re-drawing the Map of Sex Education?" Pastoral Care in Education 3, no. 3 (November 1985): 195–98. http://dx.doi.org/10.1080/02643948509470516.

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9

McDonald, Michael P. "Re-Drawing the Line on District Competition." PS: Political Science & Politics 39, no. 01 (January 2006): 99–101. http://dx.doi.org/10.1017/s1049096506060203.

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10

Attard, Matthew. "Eye (re)drawing historical ship graffiti: Tracing ex-voto drawings with eye-tracking technology." Drawing: Research, Theory, Practice 7, no. 2 (October 1, 2022): 185–98. http://dx.doi.org/10.1386/drtp_00088_1.

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This paper describes the salient features of a hybrid drawing process driven by techno-human relations. The project consists in the tracing of historical ship graffiti with my eye movements while wearing a contemporary eye-tracking headset. It forms part of my ongoing artistic practice of drawing with my eyes with an eye-tracking device, adapting and adopting an attitude of drawing-with the technology. The practice takes shape by means of an interdisciplinary approach looking at the transformative capacities of human–nonhuman relations, as the agency of off-the-shelf technology contributes to the drawing process. Eye-tracking data is developed into virtual drawings and consequently pen-plotted onto slabs of globigerina limestone. The project specifically looks at ship graffiti found on the facades of wayside chapels on the Mediterranean island of Malta, where the tradition of etching ships in stone as ex-votos can possibly date back to the 1500s. Thus, the outcome of the project bridges historical imagery with contemporary drawing, resulting in a multifaceted interpretation through a play on words while converging interdisciplinary dialogues.
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11

YI, JOSEPH. "(Re)Drawing the Lines on Marriage and Sexuality." Political Quarterly 84, no. 4 (October 2013): 497–505. http://dx.doi.org/10.1111/j.1467-923x.2013.12046.x.

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12

Smith, Wayne. "Changing the logic of practice: (re)drawing boundaries, (re)defining fields." Physical Education & Sport Pedagogy 17, no. 3 (July 2012): 251–62. http://dx.doi.org/10.1080/17408989.2012.690382.

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13

Mohammed, Adnan I. "Effect of Forming Method on the Behavior of the Drawing Process of a Complex Shape." Iraqi Journal of Industrial Research 9, no. 3 (December 14, 2022): 1–11. http://dx.doi.org/10.53523/ijoirvol9i3id155.

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This paper aims to produce a complex shape with eight vertices in a deep-drawing process. Two methods were used to perform this study. The first method is called the direct method (drawing process), in which a complex shape was produced directly from drawing metal sheets. The second method called the indirect method (redrawing process) involves producing a complex shape from the re-drawing process of the cylindrical shape previously drawn from sheet metal. The two methods were also compared in terms of drawing force, thickness distribution, stress, and strain distribution. The sheet metal used in this work is made of low carbon steel (1008-AISI) with dimensions of 0.7 mm in thickness and 80 mm in diameter. In the present study, ANSYS 18.0 software was used for simulating the drawing and redrawing process. The results indicate the maximum drawing force with a drawing process (41 KN EXP, 30 KN FES). The effective stress and the effective strain increase until the cup’s end and reach the maximum values of the effective stress (835.23 MPa FES) and the effective strain (0. 442 FES, 0.345 EXP) in the area of the minor axis curvature with the process of re-drawing. The maximum thinning at the corner area with the redrawing process (7. 143% FES, 5.722% EXP) at the zone of the minor axis curvature. Also, the best distribution of thickness, stresses, and strains along the wall of the complex shape with the first method (drawing process).
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14

Farrell, Helen. "Re-reading Merleau-Ponty through the language of drawing." Drawing: Research, Theory, Practice 6, no. 1 (April 1, 2021): 33–48. http://dx.doi.org/10.1386/drtp_00049_1.

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In order to present visual art as a paradigm for philosophy, Maurice Merleau-Ponty investigated the creative processes of artists whose work corresponded closely with his philosophical ideas. His essays on art are widely valued for emphasizing process over product, and for challenging the primacy of the written word in all spheres of human expression. While it is clear that he initially favoured painting, in his late work Merleau-Ponty began to develop a much deeper understanding of the complexities of how art is made in parallel with his advancement of a new ontology. In this article I focus on the materiality of Merleau-Ponty’s work in progress through an examination of his unfinished manuscript and working notes in the Bibliothèque national de France (BnF) in Paris. Through a reflection on the potential of these archive documents to reveal new insights into his working processes, I establish a connection to Merleau-Ponty’s own embodied thought mechanisms to uncover comparative methods of enquiry to those used in drawing practice.
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15

Jin, Lei, Barbara Entwisle, and Gail E. Henderson. "Re-Drawing Boundaries: Work, Households, and Gender in China." Contemporary Sociology 31, no. 2 (March 2002): 127. http://dx.doi.org/10.2307/3089467.

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16

Griffiths, Merris. "Children drawing toy commercials: re-imagining television production features." Visual Communication 4, no. 1 (February 2005): 21–37. http://dx.doi.org/10.1177/1470357205048934.

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17

Troelenberg, Eva-Maria. "Drawing Knowledge, (Re-)Constructing History: Pascal Coste in Egypt." International Journal of Islamic Architecture 4, no. 2 (October 1, 2015): 287–313. http://dx.doi.org/10.1386/ijia.4.2.287_1.

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18

Ramakrishna, Seeram. "Guest Editorial: Innovations Re-Drawing the Tertiary Education Landscape." Drying Technology 32, no. 1 (December 7, 2013): 2–3. http://dx.doi.org/10.1080/07373937.2013.813222.

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19

Hsu, Carolyn L. "Re-Drawing Boundaries: Work, Households, and Gender in China." American Ethnologist 28, no. 4 (November 2001): 942–44. http://dx.doi.org/10.1525/ae.2001.28.4.942.

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20

Koutsoumpos, Leonidas. "Drawings of sections and drawing with sections1." Drawing: Research, Theory, Practice 9, no. 1 (April 1, 2024): 19–34. http://dx.doi.org/10.1386/drtp_00126_1.

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Our era has been described as an age of divided representation, where the instrumental, rationalistic and commodifiable aspects of life have overthrown the ethical, creative and communicative ones that used to give meaning to human existence. This schism has led to the fact that representations have lost their power to re-present things meaningfully and have become mere ghosts of reality – often by rejecting it overall. This paper discusses the role that the drawings of sections can play in the way that we come to know, understand and interpret space. Although the paper uses architecture as its main entry point, it relates to various other design-oriented spatial disciplines (landscape architecture, urbanism, engineering, product design, geography, etc.). Methodologically, the paper cuts the discourse about sections in two distinct parts. The first one has to do with drawings of sections that come to describe an already existing structure (drawings of sections). The second highlights the role that sections play during the designing of new things – things that do not yet exist – in order to bring them into being (drawing with sections). With the proposed distinction the paper calls us to rethink sections, from a mere outcome of the design process, to the design process per se.
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21

Li, Yang, Yong Zhou, De Ming Sun, and Zhong Lei Wang. "The Numerical Simulation for Engine Oil Filter Shell." Applied Mechanics and Materials 533 (February 2014): 101–5. http://dx.doi.org/10.4028/www.scientific.net/amm.533.101.

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For the complex shape and difficult forming of engine oil filer shell, this paper aims to do research on stamping technology and mold of engine oil filer shell. Based on the calculation and analysis of the forming technology according to its characteristics,the forming process is optimized, which includes 6 steps: blanking and drawing, re-drawing, 3rd-drawing, reshaping, beading and trimming, punching and flanging. Then for the importance of multi-drawing process, the numerical simulation of the multi-drawing process has been carried out by using the Dynaform software. The results show that the good piece of the oil filter shell can be drawn from sheet material through the 6 steps one by one. Finally, according to the results the molds are designed.
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22

Yildiz, Ugur. "“Precarity” of the Territorialized State: Immigrants Re-drawing and Re-mapping the Borders." Journal of Borderlands Studies 31, no. 4 (May 23, 2016): 521–36. http://dx.doi.org/10.1080/08865655.2016.1174608.

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23

Schulte, Christopher M. "Childhood drawing: The making of a deficit aesthetic." Global Studies of Childhood 11, no. 1 (March 2021): 54–68. http://dx.doi.org/10.1177/2043610621995821.

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This article introduces and explores the concept of the deficit aesthetic. Particular attention is given to how the deficit aesthetic was made and the extent to which it continues to be sustained in early art education, especially in the United States. For many children, particularly at this time, the deficit aesthetic factors as yet another lingering obstacle to negotiate, one that re-centers the assumption of childhood drawing as a neutral practice for a natural child. As an interpretive frame, the deficit aesthetic distorts the experience of drawing by disempowering the child, decontextualizing their drawing, and re-prioritizing white Western and middle-class subjectivities.
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24

Laursen, Ole Birk. "Postcolonial Anarchographics: Re-drawing History in the Trantraal Brothers’ Crossroads." SubStance 46, no. 2 (2017): 129–46. http://dx.doi.org/10.3368/ss.46.2.129.

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Laursen, Ole Birk. "Postcolonial Anarchographics: Re-drawing History in the Trantraal Brothers' Crossroads." SubStance 46, no. 2 (2017): 129–46. http://dx.doi.org/10.1353/sub.2017.0022.

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26

Thon, Jan-Noël. "Transmedia Characters/Transmedia Figures: Drawing Distinctions and Staging Re-Entries." Narrative 30, no. 2 (May 2022): 140–47. http://dx.doi.org/10.1353/nar.2022.0035.

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27

Fan, C. Cindy. "Re-Drawing Boundaries: Work, Households, and Gender in China (review)." China Review International 9, no. 1 (2003): 98–102. http://dx.doi.org/10.1353/cri.2003.0013.

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28

Vagias Karavas. "Somatic Jurisprudence: Re-Drawing the Boundaries of the Human Body." Pólemos 17, no. 1 (April 1, 2023): 69–87. http://dx.doi.org/10.1515/pol-2023-2005.

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Abstract Based on adecision of the German Federal Supreme Court on the qualification of the destruction of cryopreserved sperm as bodily injury, my contribution explores the question of how law in the age of biomedicine redefines the boundaries of the human body against the background of its fragmentation and genotyping. To cope with the complexity of these processes, law makes use of both old and new techniques, thus proving to be the first technology of life ever.
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29

Watson, Christine. "Re-embodying Sand Drawing and Re-evaluating the Status of the Camp: The Practice and Iconography of Women's Public Sand Drawing in Balgo, W.A." Australian Journal of Anthropology 8, no. 2 (August 1997): 104–24. http://dx.doi.org/10.1111/j.1835-9310.1997.tb00180.x.

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30

Schaeverbeke, Robin, and Hélène Aarts. "‘Architectural literacy’: Functions of architectural drawing." Drawing: Research, Theory, Practice 6, no. 1 (April 1, 2021): 83–97. http://dx.doi.org/10.1386/drtp_00052_3.

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‘Literacy’ refers to the ability to both assign meaning to – and to create messages. Transposing this concept to ‘architectural literacy’ could refer to the assigning of meaning to architectural messages and the ability to create such messages. ‘Architectural literacy’ suggests that architects employ a distinct language to communicate, process and design spatial propositions and that the knowledge of such literacy could be of importance to a broader community. In architectural practices, drawing is used to discourse about forms and spaces. Our approach to disassemble architectural drawings in a set of functions, aims to add understanding about a specific ability to learn and understand architecture. Disassembling architectural drawing in a set of functions stems from a reflective conversation upon our practices as drawing teachers in architectural faculties. In an attempt to (re)structure the didactic foundations of our own teaching practices, we started discussing the kind of drawings architects resort to. This research gradually revealed a set of distinct, yet interrelated functions and activities. We introduce architectural drawing as a specific faculty of a large field of drawing practices, which revolves around the convergence of perception, imagination, disclosure and artistic expression. Learning about the distinct activities and abilities to process forms and spaces provides a knowledge base to explore foundations of architectural reasoning.
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31

Shiota, Y., A. Kanie, Yo Tomota, Stefanus Harjo, Atsushi Moriai, and Takashi Kamiyama. "Dissolution of Cementite Plates by Drawing, Re-Precipitation with Annealing and Corresponding Changes in Tensile Behavior in a Pearlite Steel." Solid State Phenomena 118 (December 2006): 27–30. http://dx.doi.org/10.4028/www.scientific.net/ssp.118.27.

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The microstructural change with drawing and subsequent annealing for a patented pearlite steel was investigated by means of neutron diffraction. The dissolution of cementite plates with drawing and re-precipitation of spherical cementite particles with annealing after sever drawing were observed. In situ neutron diffraction during tensile loading was performed and it is revealed that the strengthening mechanism of the specimen without cementite differs from that for a ferrite-cementite steel where the load transfer is a main mechanism. The possible strengthening mechanism for the heavily drawn specimen is proposed.
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32

Howell, Jude. "Book Review: Re-Drawing Boundaries: Work, Household, and Gender in China." Sociological Research Online 6, no. 2 (August 2001): 106–7. http://dx.doi.org/10.1177/136078040100600204.

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33

Schenk, Pam, and Mark Parker. "Drawing on the Archive: Re-evaluating Copying for the Design Curriculum." Journal of Textile Design Research and Practice 7, no. 2 (July 3, 2019): 194–209. http://dx.doi.org/10.1080/20511787.2019.1580436.

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34

Riyani, F. N., J. Maknun, and L. Yosita. "Re-designing vocational school technical drawing studio with 2 lightning system." IOP Conference Series: Materials Science and Engineering 830 (May 19, 2020): 022040. http://dx.doi.org/10.1088/1757-899x/830/2/022040.

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35

Foxall, Andrew. "A ‘New Cold War’: Re-drawing the MAP/map of Europe." Political Geography 28, no. 6 (August 2009): 329–31. http://dx.doi.org/10.1016/j.polgeo.2009.07.003.

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36

Chung, B. T. F., and F. Liu. "A re-evaluation of heat transfer associated with drawing of polymers." Journal of Applied Polymer Science 37, no. 7 (March 1989): 1961–67. http://dx.doi.org/10.1002/app.1989.070370717.

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37

Chung, B. T. F., and F. Liu. "A re-evaluation of heat transfer associated with drawing of polymers." Journal of Applied Polymer Science 38, no. 5 (September 5, 1989): 975. http://dx.doi.org/10.1002/app.1989.070380518.

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38

Stadler, Michael W. "Re-Drawing the Lines of Reality: The Ontography of Reversible Gestalts." Zeitschrift für Medien- und Kulturforschung 10, no. 1 (January 1, 2019): 161–75. http://dx.doi.org/10.28937/zmk-10-1_13.

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39

Chu, Jun, Man Tun Gao, Gui Mei Zhang, and Rui Na Feng. "Line-Based Optimization for 3D Object Reconstruction from Single Line Drawings." Applied Mechanics and Materials 20-23 (January 2010): 910–15. http://dx.doi.org/10.4028/www.scientific.net/amm.20-23.910.

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Based on iterative technique, a novel optimization approach for reconstruction a planar object from a perspective line drawing is proposed. Some constraint relationships between edges of a planar object are deduced and formulated as a linear system. The planar object can be recovered by solving the linear system. If the line drawing is a practical line drawing, the recovered planar object will be re-projected onto the projective plane. And then the parameters of the projection will be weighed with those of the corresponding line in original line drawing. The new linear system can be achieved by substituting the weighted parameters into the original linear system and solved again. This procedure is iterated until the value of an object function is smaller than the threshold predefined. Experiment results show that in addition to the ideal line drawing, the proposed algorithm can be applied to the practical line drawing.
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40

Iltis, Ana S. "Living Organ Donation Near and at the End of Life: Drawing and Re-Drawing the Boundaries Around Permissible Practices in Organ Donation." Journal of Law, Medicine & Ethics 47, no. 1 (2019): 123–25. http://dx.doi.org/10.1177/1073110519840491.

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41

Themistokleous, George. "Keratoconic and (de)formed vision: Re-thinking the limits of perspectival drawing." Drawing: Research, Theory, Practice 6, no. 1 (April 1, 2021): 139–51. http://dx.doi.org/10.1386/drtp_00056_1.

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In this project the limitations of perspectival drawing are revised and reconsidered through a particular visual (dis)ability: keratoconus. Perspectival representation is based not only on a single and immobile eye, but also on an ‘able’ eye. The de-formation of keratoconic vision offers a new means to consider the perspectival drawing by extending beyond the limitations of its structure. The degenerative keratoconic eye thus calls attention to the intricate mechanism of sight and to the eye’s machinic functioning. By referring to Creative Evolution by Henri Bergson and The Large Glass by Marcel Duchamp it becomes possible to articulate the nuanced relations between the complexity of the eye as a complex structure and the simplicity of its unitary function. Through keratoconic vision, one experiences the formations and (de)formations of the visual image due to the eyes’ functioning and dysfunctioning. This then leads to the search for an alternative medium that is similar to such a nuanced embodied visual experience. The interval between the machinations of vision and the simplicity of its function is more closely resembled through the visual experience of the stereoscope. The digitization of the stereoscope further unfolds this notion of the durational interval that lies between the machinations of vision and their unitary function, increasingly veering towards the former. Emerging digital stereoscopic imaging begin to utilize feedback and interaction and thus produce new ways to imagine the complexity of the eye(s) and visuality more broadly.
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Holder, J., and A. Layard. "Drawing out the Elements of Territorial Cohesion: Re-scaling EU Spatial Governance." Yearbook of European Law 30, no. 1 (January 1, 2011): 358–80. http://dx.doi.org/10.1093/yel/yer016.

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43

Thuillier, S., P. Y. Manach, L. F. Menezes, and M. C. Oliveira. "Experimental and numerical study of reverse re-drawing of anisotropic sheet metals." Journal of Materials Processing Technology 125-126 (September 2002): 764–71. http://dx.doi.org/10.1016/s0924-0136(02)00387-4.

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44

Quintana, Virgilio, Louis Rivest, Robert Pellerin, and Fawzi Kheddouci. "Re-engineering the Engineering Change Management process for a drawing-less environment." Computers in Industry 63, no. 1 (January 2012): 79–90. http://dx.doi.org/10.1016/j.compind.2011.10.003.

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45

Morel, Thomas. "De Re Geometrica: Writing, Drawing, and Preaching Mathematics in Early Modern Mines." Isis 111, no. 1 (March 2020): 22–45. http://dx.doi.org/10.1086/707640.

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46

Spriggs, Hermione. "‘Uurga shig’ – What is it like to be a lasso? Drawing figure–ground reversals between art and anthropology." Journal of Material Culture 21, no. 4 (August 20, 2016): 405–28. http://dx.doi.org/10.1177/1359183516662673.

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How might a singular object, a herdsman’s lasso known as the ‘ uurga’, facilitate a fresh understanding of cosmology and human–animal relationships in nomadic Mongolia? ‘ Uurga shig’ re-evaluates the performance of an object as an agentive social participant and the role of drawing as an anthropologically relevant method, outlining the need for interdisciplinary exchange between the fields of participatory art and anthropology. With a starting point of Alfred Gell’s thesis of ‘Traps as artworks and artworks as traps’ (1996), the lasso presents an alternative point of view to the western ‘zoological framing’ criticized by Massumi (‘What animals teach us about politics’, 2014). Instead the uurga functions as a non-Euclidean drawing tool, a frame through which to better understand the fluid relationships underpinning human–animal codependency on the Mongolian steppe. From the line on a page to the ‘drawing through’ of a thread in a needle and the ‘drawing in’ of a wild horse in nomadic Mongolia, the author explores the application of drawing as an intimate method for analyzing moving relationships. With a focus on the drawn line as a connecting device that lends itself to figure–ground reversal, she extends the application of drawing as a prosthetic technology, one that might be used to catalyze a perspectival shift into the worlds of other animals.
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47

Mayo, Natasha. "Capturing ‘small stories’ from the lake: At the MAA/Ground Residency." Drawing: Research, Theory, Practice 9, no. 1 (April 1, 2024): 121–33. http://dx.doi.org/10.1386/drtp_00133_1.

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Drawing has long been established as a conversational tool, as notation passed between individuals or with larger groups to create an evidence trail of ideas. There is a fascinating sociality to the activity, finding parallels with the dynamics of a conversation, as artists enter similar cycles of inspection, re-conception and re-examination, pushing ideas forward, asserting focus and altering original intentions. The MAA/Ground Residency offered the opportunity to examine this sociality on a more nuanced level, by applying approaches commonly used in the practice of oral history, to devise a model of drawing that can sensitize participants to the nature of human interaction and explore the ‘smaller stories’ contained in the details of shared experiences. The following report maps the first stages of this study from initial interaction with the site of the residency at Niemelä house, E. Finland, and onto a series of drawing conversations with its attendees. The results start to show how, as a particular field of the visual arts, the drawing process can be shaped by situated ‘small talk’, reflected in equivalent hesitancies and utterances in emerging and growing ideas, and in turn, how narrative analysis can be used to interpret and explore the sociality of drawing taking place.
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48

Šurbatović, Sonja. "Alteration of the Touch Into a Gaze - Reading Through the Drawing." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 1 (July 20, 2021): 57–69. http://dx.doi.org/10.36253/aisthesis-12773.

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Studying the touch as a sense developed by contact, and the necessity to redefine it, due to the global pandemic and social dissonance that occurred is the topic of this text. Questioning the approach to drawing under the influence of remoteness addresses the need to look closely, to get personal with the drawing, a manifestation of experience. Drawing of intimacy, evaluate concepts of encounter and isolation posing the question of whether we can experience the closeness of the other through the embodiment of the experience in the drawing. Re-examining tactile sensation observed through the obstacle of corporeal distance, a reflection of intimate experiences and spaces opens up for a new interpretation - of touch without the touch. Can this obstacle transform touch into gaze; and can an image in its making, construct a tactile sensation? Intertwining theoretical and practical approach, this text witness drawing and its visual consumption in space of violated closeness.
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49

Tange, Andrea Kaston. "REDESIGNING FEMININITY: MISS MARJORIBANKS'S DRAWING-ROOM OF OPPORTUNITY." Victorian Literature and Culture 36, no. 1 (March 2008): 163–86. http://dx.doi.org/10.1017/s1060150308080108.

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Margaret Oliphant's work has of late received renewed attention for her portrayal of heroines who struggle against the confines of proper middle-class femininity – who are at once sympathetic and yet do not fit the model of the submissive Victorian domestic angel – and Miss Marjoribanks (1866) is no exception. Without fully discounting the Victorian notion that there is a proper place women ought to occupy, Miss Marjoribanks raises complex questions about how that place is defined and limited. Recent scholarly attention to the novel highlights Oliphant's sustained engagement with the issue of how far propriety and custom circumscribe a woman's place. Such examinations, however, fail to address the extent to which Oliphant demonstrates the flexibility of cultural notions of a woman's place by focusing the action of Miss Marjoribanks almost entirely on the heroine's creation of a very specific physical place for herself – her drawing-room. Examining Miss Marjoribanks's portrayal of how a Victorian woman might capitalize on the centrality of the drawing-room in shaping cultural notions of feminine identity, this essay argues that once Lucilla Marjoribanks has established the drawing-room as a physical and ideological space that will contain her actions, she uses this space and all it represents to expand the boundaries of her cultural place. By focusing specifically on the work its heroine undertakes within her drawing-room and by asserting that a woman's power lies in the possibility for feminine taste to accomplish action, Oliphant's novel, like her heroine, operates within the “prejudices of society” while simultaneously offering a means to exploit those prejudices. This architecturally-motivated re-reading of Oliphant's novel in turn suggests a re-reading of Oliphant's own career. For I would argue that novels operated for Oliphant the way that drawing-rooms do for Lucilla: they provided a culturally-sanctioned place in which to locate herself, and thereby reaffirm her respectable feminine position, even while she undertook projects that challenged Victorian assumptions about gendered identity.
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50

Gao, Xin Lei, Jian Li, Wan Zhen Gao, and Xiang Pei Qin. "A Thermal Damage Model of UHMWPE." Key Engineering Materials 353-358 (September 2007): 591–94. http://dx.doi.org/10.4028/www.scientific.net/kem.353-358.591.

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Ultra high molecular weight polyethylene (UHMWPE) is a kind of non-polar polymer with a crystalline structure. Its failure appeared usually as a type of wire drawing when it was used as a material of rubbing pairs. By a designed heating test, the thermal damage phenomena of UHMWPE were observed by SEM. Its thermal damage model during the process of wire drawing damage was assumed that when the thermal energy was accepted by the UHMWPE, its volume expanding and its surface melting into a viscous fluid proceeded from its elevated temperature, and then the viscous fluid flowed according with non-Newtonian fluid model; after cooling, the melt re-crystallized and gathered again and at the same time many obvious cavities with phenomena of wire drawing appeared in the re- crystalline polymer. As a result the material of UHMWPE shrank to porosint from the congeries with the small uniform particles.
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