Journal articles on the topic 'Fabric in fine art'
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Jackson, Anne. "Contemporary Textiles: The Fabric of Fine Art, Nadine K. Monem (ed.)." TEXTILE 11, no. 1 (March 2013): 102–5. http://dx.doi.org/10.2752/175183513x13588738655052.
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Graßmann, Carsten, Evelyn Lempa, Maike Rabe, Andreas Kitzig, Edwin Naroska, and Benno Neukirch. "Electroluminescent Textile for Therapeutic Applications." Advances in Science and Technology 100 (October 2016): 73–78. http://dx.doi.org/10.4028/www.scientific.net/ast.100.73.
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Alternating-current (AC) electroluminescent (EL) devices on fabrics with high brightness are presented. The EL-devices were fabricated via knife coating; inorganic luminous pigments are based on zinc sulfide. Effects of parameters influencing the brightness were investigated. These parameters are the AC-voltage, AC-frequency, AC-waveform, layer composition of the luminous capacitor and the fabric. Introducing a flexible reflecting dielectric layer enhances the light yield on fine woven fabrics with green luminous pigment. This can be achieved with small concentrations of reflective white pigments such as titanium dioxide, maintaining the flexibility and bendability of the textile substrate. The produced luminous textiles are investigated as a possible replacement for light boxes used in the therapy of seasonal affective disorder (SAD). A high luminous emittance and a high portion of short and energy rich wavelengths are necessary for the treatment. Contrarily to state-of-the-art light boxes a higher acceptance of light therapy is expected, because a luminous textile can be integrated easily and unremarkably into the living environment.
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Boileau, Marie-Claude, and James Whitley. "Patterns of Production and Consumption of Coarse to Semi-Fine Pottery at Early Iron Age Knossos." Annual of the British School at Athens 105 (November 2010): 225–68. http://dx.doi.org/10.1017/s006824540000040x.
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This paper presents the results of a large-scale petrological study of Early Iron Age (twelfth-seventh centuries bc) coarse wares from north-central Crete. 210 samples were taken for analysis from six locations at Knossos, representing distinct funerary, domestic, and ritual contexts. The pottery selected represents coarse to semi-fine fabrics and a variety of vessel types and sizes. The bulk (188) of the samples can be divided into seven fabric groups, with 22 loners or pairs. Four of the seven fabric groups exhibit a mineralogy that is consistent with local geology. The functional ceramic range is clearly reflected in the methods of clay preparation: coarse wares, cooking pot wares and fine wares have distinct clay paste technology. Three of the fabric groups, however, appear to be non-local, twelve samples coming from elsewhere in Crete, and twenty-three from elsewhere in the Aegean. Fabric groups 4 and 7 seem to represent a rather specialized local taste for exotic (possibly Cycladic) wares, used primarily for cooking. Overall the picture is one of considerable continuity in patterns of production and consumption from the Bronze Age. The introduction of the red micaceous wares (especially fabric 4) however coincides with a number of other signs of greater external contact in Knossos during the latter part of the ninth century BC. These innovations appear to be related, even if debate continues as to their significance.To άρθρο Παρουσιάςει τα αποτελέσματα μιας μεγάλης κλίμακας πετρολογικής μελέτης της χονσροεισούς κεραμεικής της Πρώιμης Eποχής του Σισήρου (12ος- 7ος αι. π.X.) από την βόρεια κεντρική Kρήτη. 210 σείγματα πάρθηκαν για ανάλυση από έξι θέσεις στην Kνωσό, οι οποίες αντιπροσωπεύουν σιακριτά ταφικά, οικιακά και τελετουργικά σύνολα. H επιλεγμένη κεραμεική αντιπροσωπεύει χονσροεισή και μεσαίας ποιότητας αγγεία ποικίλων σχημάτων και σιαστάσεων. O κύριος όγκος (188) των σειγμάτων μπορεί να σιαιρεθεί σε επτά ομάσες σύστασης πηλού, με 22 σείγματα να αποτελούν μονασικές περιπτώςεις ή ςεύγη. Tέσσερις από τις επτά ομάσες εμφανίςουν ορυκτολογία ςύμφωνη με την τοπική γεωλογία. H ποικιλία της χρηστικής κεραμεικής αντανακλάται καθαρά στις μεθόσους προετοιμαςίας του πηλού: χονσροεισή αγγεία, μαγειρικά αγγεία και λεπτότεχνα αγγεία σείχνουν σιακριτή τεχνολογία πρόςμειξης πηλού. Tρεις από τις ομάσες ςύστασης πηλού παρ' όλα αυτά φαίνεται να μην είναι εγχώριες – σώσεκα σείγματα προέρχονται από άλλες περιοχές της Kρήτης, και 23 από άλλες περιοχές του Aιγαίου. Oι ομάσες 4 και 7 φαίνεται να αντιπροςωπεύουν μια ισιαίτερα εξεισικευμενη τοπική προτίμηση για εξωτικά (ενσεχομένως Kυκλασικά) αγγεία, τα οποία χρησιμοποιούνταν κυρίως για μαγειρική. Γενικά έχουμε μια εικόνα σημαντικής συνοχής και συνέχειας στις μαρφές παραγωγής και κατανάλωσης από την Eποχή του Xαλκού στην Eποχή του Σισήρου. H εμφάνιση και εισαγωγή αγγείων κοκκινωπού πηλού με μαρμαρυγία (εισικά η ομάσα 4) (συμπίπτει με έναν αριθμό άλλων στοιχείων που σείχνουν εκτενέστερες εξωτερικές επαφές της Kνωσού κατά τα τελευταία χρόνια του 9ου αιώνα π.X. Aυτές οικαινοτομίες φαίνεται να συσχετίςονται, αν και η συςήτηση αναφορικά με τη σημασία τους συνεχίςεται.
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Dhivya, M., and M. Renuka Devi. "Detection of Structural Defects in Fabric Parts Using a Novel Edge Detection Method." Computer Journal 62, no. 7 (December 1, 2018): 1036–43. http://dx.doi.org/10.1093/comjnl/bxy121.
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Abstract A fabric fault detection scheme is implemented in this work using frame harmonizing-based approach. Many recent research works deliver the fabric defect detection techniques. But in the textiles industry, the fast process of fabric cutting and sewing, lots of auxiliary imperfections have emerged. Particularly these defects cannot be identified easily by experts as well as an automated system. In our system, a novel frame extraction technique is used to find the defects in the fabric production pipeline. The input fabric image frame is pre-processed by transformation and filtering techniques. In this work,a novel multi-directional and multi-scale outline extraction method is proposed to extract the edge map. Contour-based features are extracted and classified by K-nearest neighbor classifier. The experimentation with real-time dataset produced the outstanding performance results when compared with state of the art methods.
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M, Dhivya, and Suganthi D. "An Inventive Method to Fabric Part Structural Defect Detection Using Frame Harmonizing." International Journal of Computer Communication and Informatics 4, no. 2 (December 30, 2022): 26–40. http://dx.doi.org/10.34256/ijcci2223.
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Using a frame harmonizing based approach, this paper examines paper defects. In the textiles industry, the quick cutting and sewing of fabric has resulted in a lot of small mistakes, making this task extremely difficult. Especially these deformities won't be quickly recognized by specialists as well as programming. A novel frame harmonizing method is used in our system to find flaws in the fabric production process. Transformation and filtering techniques are used for the inputted fabric image frame. The conventional outline extraction method Berkeley edge detector is used to extract the edge map. Contour-based features are extracted and classified by K-Nearest Neighbour (KNN) classifier. The experimentation with real-time data set produced the outstanding performance results when compared with state of the art methods.
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Chen, Ming. "Fractional-Order Adaptive P -Laplace Equation-Based Art Image Edge Detection." Advances in Mathematical Physics 2021 (August 31, 2021): 1–10. http://dx.doi.org/10.1155/2021/2337712.
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In recent years, with the rapid development of image processing research, the study of nonstandard images has gradually become a research hotspot, for example, fabric images, remote sensing images, and gear images. Some of the remote sensing images have a complex background and low illumination compared with standard images and are easy to be mixed with noise during acquisition; some of the fabric images have rich texture information, which adds difficulty to the related processing, and are also easy to be mixed with noise during acquisition. In this paper, we propose a fractional-order adaptive P -Laplace equation image edge detection algorithm for the problem of image edge detection in which the edge and texture information of the image is lost. The algorithm can apply for the order adaptively to filter the noise according to the noise distribution of the image, and the adaptive diffusion factor is determined by both the fractional-order curvature and fractional-order gradient of the iso-illumination line and combined with the iterative approach to realize the fine-tuning of the noisy image. The experimental results demonstrate that the algorithm can remove the noise while preserving the texture and details of the image. A fractional-order partial differential equation image edge detection model with a fractional-order fidelity term is proposed for Gaussian noise. The model incorporates a fractional-order fidelity term because this fidelity term smoothes out the rougher parts of the image while preserving the texture in the original image in greater detail and eliminating the step effect produced by other models such as the Perona-Malik (PM) and Rudin-Osher-Fatemi (ROF) models. By comparing with other algorithms, the image edge detection effect is measured with the help of evaluation metrics such as peak signal-to-noise ratio and structural similarity, and the optimal value is selected iteratively so that the image with the best edge detection result is retained. A convolutional mask image edge detection model based on adaptive fractional-order calculus is proposed for the scattered noise in medical images. The adaption is mainly reflected in the model algorithm by constructing an exponential parameter relation that is closely related to the image, which can dynamically adjust the parameter values, thus making the model algorithm more practical. The model achieves the scattering noise removal in four steps.
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Wang, Yang. "Research on Flexible Capacitive Sensors for Smart Textiles." Journal of Physics: Conference Series 2181, no. 1 (January 1, 2022): 012038. http://dx.doi.org/10.1088/1742-6596/2181/1/012038.
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Abstract Smart textiles are a new era of smart textiles that not only have traditional textile functions, but also have information collection, feedback, and multiple intelligent interaction functions with users. As a manifestation of the combination of art and technology in the textile field, smart textiles are of great significance to traditional textiles, clothing, home textiles, and wearable devices. From the perspectives of the background, technology, and development prospects of smart textiles, this article systematically analyses the application technology of smart textiles in practice. Starting from the current state of smart textile research, the article explains the promotion of new material technology to the research of smart textiles. Focus on the technical improvement of capacitive sensing equipment based on flexible fabrics, and find a sensing fabric structure with lower hysteresis, fast response time, good repeatability and stability through design experiments.
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Ismail, Hassan Ahmed. "Public Art Development." Academic Research Community publication 1, no. 1 (September 18, 2017): 7. http://dx.doi.org/10.21625/archive.v1i1.139.
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Please allow me to express my interest in participating in the event; the agenda and objective are of high significance for discussing the maturity and development of a sustainable "cultural and creative infrastructure" powered by cultural policies and practices. Involvement and lobbying for such topics is essential for the cultural and creative dynamics where creative cities attract creative people.While navigating through a search engine and typing a name of a city, the first images to appear visualize the built environment of the city. For instance when you type Cairo into Google, you will be mainly looking at the Pyramids and built environment around the Nile in addition to the Old City of Cairo. If you type in New York you will find images of skyscrapers positioned around the natural landscape of the city, and so on and so forth.Thus tourism depends a lot on the built environment and the touristic standard is subject to the built environment, type and quality of tenants attracting the general public and of course the natural landscape.Arts and architecture play an important role among the built environment having both tangible and intangible economic impacts resulting from touristic attractions as well as other means; Cairo was once described as the most beautiful city in the world with the rich urban fabric and prosperity of the arts and architecture.In a country like Egypt where segmentation between the different social levels is becoming a real threat for future generations, it is crucial to work with all stakeholders including the authorities, civil society and the general public with objectives that would aim to serve all interests and gain a positive public opinion.
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Van Zuijlen, Mitchell J. P., Hubert Lin, Kavita Bala, Sylvia C. Pont, and Maarten W. A. Wijntjes. "Materials In Paintings (MIP): An interdisciplinary dataset for perception, art history, and computer vision." PLOS ONE 16, no. 8 (August 26, 2021): e0255109. http://dx.doi.org/10.1371/journal.pone.0255109.
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In this paper, we capture and explore the painterly depictions of materials to enable the study of depiction and perception of materials through the artists’ eye. We annotated a dataset of 19k paintings with 200k+ bounding boxes from which polygon segments were automatically extracted. Each bounding box was assigned a coarse material label (e.g., fabric) and half was also assigned a fine-grained label (e.g., velvety, silky). The dataset in its entirety is available for browsing and downloading at materialsinpaintings.tudelft.nl. We demonstrate the cross-disciplinary utility of our dataset by presenting novel findings across human perception, art history and, computer vision. Our experiments include a demonstration of how painters create convincing depictions using a stylized approach. We further provide an analysis of the spatial and probabilistic distributions of materials depicted in paintings, in which we for example show that strong patterns exists for material presence and location. Furthermore, we demonstrate how paintings could be used to build more robust computer vision classifiers by learning a more perceptually relevant feature representation. Additionally, we demonstrate that training classifiers on paintings could be used to uncover hidden perceptual cues by visualizing the features used by the classifiers. We conclude that our dataset of painterly material depictions is a rich source for gaining insights into the depiction and perception of materials across multiple disciplines and hope that the release of this dataset will drive multidisciplinary research.
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Shkolna, Olga, Olga Sosik, and Alla Buigasheva. "Stylistics of Ukrainian Fine Art, Architecture and Design in the Second Half XIX – Early XXI Centuries’ Period." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 2 (December 13, 2021): 291–98. http://dx.doi.org/10.31866/2617-7951.4.2.2021.246856.
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The aim is to explore the key concepts of stylistics of Ukrainian fine arts, architecture and various types of design of the second half of the XIX – early XXI centuries in the relationship of individual fields of knowledge. Research methods – hermeneutic, axiological, historical-genetic, historical-chronological, comparative, culturological, formal-stylistic, art analysis. The selected tools allow you to compare the stylistic features of different types of design (industrial, graphic, clothing, environment), fine arts and architecture. A novelty is an overview of evolutionary processes in terms of styles in painting, graphics, architecture, various types of design activities (in particular, environmental design, industrial, graphic, clothing). The points of intersection of the conceptual and categorical sphere of the indicated branches of creativity are outlined, both common and different tendencies concerning the identification of stylistic features are observed. Conclusions. The differences of separate branches of knowledge of artistic creativity and common features of some types of design-designing, -construction, -modeling, art technologies bordering on graphic art and painting (graphic design, partly industrial design), architecture (environmental design and partly industrial design) are traced.
Since the era of modernism, art deco, avant-garde, constructivism, functionalism, Stalin’s empire, which affected all forms of artistic activity, in the late twentieth – early twenty-first century established the classic, minimalism, high-tech, fusion, low-tech, shabby chic, provence, glamour, some oriental stylizations in the interior associated with architecture. Instead, clothing design, in addition to the classics, over the past few decades has creatively adapted the sports-classic style, manga, country, western, boho, military, glamour and etc. over the past few decades.
If the shapes of the silhouettes of the cut look at the general tendencies of industrial design, the drawings of fabrics partially appeal to the visions of graphic design, which are related to the tendencies of fine arts – tendencies of modernism, avant-garde, postmodernism. Namely, they tend to functionalism, constructivism, boychukism, art deco, socialist realism, Stalinist empire, Ukrainian soviet empire, neo-functionalism, neo-primitivism, neo-folk style, polystylism, glamour.
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McCulloch, John G. "The History of the Development of Melt Blowing Technology." International Nonwovens Journal os-8, no. 1 (March 1999): 1558925099OS—80. http://dx.doi.org/10.1177/1558925099os-800123.
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Almost a half century ago development efforts were initiated by very different entities, in widely different locations, to demonstrate one step processes to convert polymer to web: • Major fiber producers (DuPont, Freudenberg, Monsanto) began work on converting polymer (PE, PET, Nylon) into continuous “cold drawn” filaments and integrating the conversion of these filaments into a random-laid bonded nonwoven fabric. • An oil company (Exxon), building on the earlier work (1950's) of the Naval Research Labs to produce fine fibers, began work on converting their recently commercialized PP polymer into discontinuous, or continuous, “hot drawn” filaments and integrating these filaments into a random-laid self bonded nonwoven web having average fiber sizes 2–5 microns (fine fibered webs) to 100+ fibers (coarse fibered webs). As a result of these early development efforts, three different, but related melt spinning nonwoven processes have achieved significant commercial importance, with tremendous benefits to consumers worldwide: • Spunbond process • Melt blowing process • Flash spinning process This presentation will summarize the development of the melt blowing process from conceptualization to current state-of-the-art. Important product, process and equipment developments are detailed in the 50 year growth of the melt blowing process from a laboratory concept to a 125 million pound a year U.S. and Canadian commercial business and substantial additional worldwide consumption. Today, spunbond and melt blown processes are used for approximately 54% of the total 18.6 million square yards U.S. nonwoven market.
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Rogers, Nick. "Politicultural Sorting: Mapping Ideological Differences in American Leisure and Consumption." American Politics Research 50, no. 2 (February 14, 2022): 227–41. http://dx.doi.org/10.1177/1532673x211041143.
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The United States is in the grips of severe political polarization, which gridlocks government and strains the national social fabric. In one major aspect of the phenomenon, American popular culture is fragmenting along ideological lines, a process herein termed “politicultural sorting.” Previous studies have examined the politicization of individual products and activities (e.g., fine art, television, and coffee), and theorized that culture is dividing in a neatly bipolar fashion. Using proprietary data from the National Consumer Survey, rarely seen in academia, this study advances existing scholarship in two regards: first, by eschewing a piecemeal approach and instead examining large clusters of popular culture relationally; and second, by questioning the dichotomous model that has thus far conceptualized the culture divide. Employing a combination of factor analyses and regressions, this project confirms the general concept of politicultural sorting, but finds that there are numerous archetypes within each ideological group, rather than a single manifestation. Compared with the conservative archetypes, liberal culture tends to be broader, more demographically diverse, edgier, and more embracing of exploratory play. Conservative clusters are more wholesome, overtly religious, and frequently evoke a sense of rugged individualism.
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Revenok, Natalia. "SCIENTIFIC RESTORATION OF WORKS OF DECORATIVE AND APPLIED ART IN THE SYSTEM OF HIGHER ART EDUCATION." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 2021): 92–106. http://dx.doi.org/10.33838/naoma.30.2021.92-106.
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Abstract. The article is devoted to the issues of scientific restoration of works of decorative and applied art in the system of art education at the National Academy of Fine Arts and Architecture. The processes of formation and improvement of the experience of the artist-restorer for the preservation of historical and cultural monuments are defined. The importance of solving the cultural and professional development of the future artist-restorer in the field of restoration of works of decorative and applied art is emphasized. The topic studied by the author raises a number of issues of the methodology of studying works of decorative and applied arts in the research work of future artists-restorers. The purpose of the study is to develop and substantiate basic theoretical knowledge in the field of research, restoration, conservation and storage of works of decorative and applied arts from metal, ceramics and organic materials. Training of restoration specialists is carried out in various educational and scientific institutions of Ukraine. At the present stage of development of scientific restoration, this industry needs innovative approaches and updating of old methods. Thus, at the National Academy of Fine Arts and Architecture you can get a specialty artist-restorer of monumental painting, artist-restorer of sculptures and decorative arts from metal, ceramics, organic materials (fabrics, leather and bone). Restoration occupies the most important place in museum work and combines a set of knowledge and skills that provide storage of works of art made of metal, ceramics and organic materials. Disciplines on the restoration of sculpture and works of decorative and applied art are part of the training of specialists in the specialty «Restoration of works of art» within the acquisition of practical skills in research, restoration, conservation and storage. Training of future artists-restorers in the system of higher professional education taking into account modern requirements of conservation and restoration is based on such principles as scientific, connection of theory with practice should be carried out on authentic monuments — museum exhibits that promotes formation of professional competences, acquisition of professional experience, responsible attitude to historical and cultural monuments. The obtained results deepen the idea of research methods, restoration and conservation of works of decorative and applied arts from metal, ceramics and organic materials. Theoretical provisions are important at the problem-theoretical level, because the training of restorers requires a strong scientific and methodological base.
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Vilches, Patricia. "Alberto Blest Gana and the Sensory Appeal of Wealth." Open Cultural Studies 5, no. 1 (January 1, 2021): 81–95. http://dx.doi.org/10.1515/culture-2021-0006.
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Abstract This essay explores sensory stimuli in La aritmética en el amor [Arithmetic in Love/Economics of Love] (1860) as they relate to the consumer preferences (for clothing, furniture, jewellery) and purchasing practices of nineteenth-century Santiago, Chile. The novel presents detailed descriptions, for example, of fine fabrics, emphasising the sounds that the wearers of such fabric reproduce as they move about. Wealthy or not, people feel the pressure to present themselves in their best garments, but the “best noise” is made by the rich, who transmit the affect of opulence to the less fortunate. Overall, to radiate a sensory appeal, characters frequent the city of Santiago and patronise the finest clothing stores. From our very first encounter with the protagonist Fortunato Esperanzano, he is dressed accordingly, engaging with Santiago and showing in his persona that he shops only for nice clothes and the best cigars. From a Lefebvrian perspective, Fortunato represents how Chile’s modernisation transforms the capital’s “marketplace” as a social space where a new luxury economy flourishes and a traditional, rigid social order is maintained.
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Wilson, D. E., and P. M. Day. "Ceramic regionalism in Prepalatial Central Crete: the Mesara imports at EM I to EM II A Knossos." Annual of the British School at Athens 89 (November 1994): 1–87. http://dx.doi.org/10.1017/s006824540001529x.
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This article presents results obtained through detailed stylistic analysis of a body of EM I–EM II A pottery at Knossos in association with a programme of petrographic analysis and scanning electron microscopy. From the Knossian ceramic assemblage, four specific ware groups were chosen for this study on the basis of shape, decoration, and fabric: fine painted, fine grey, painted semi-fine to coarse, and slipped and burnished. It is argued here, on stylistic grounds and on the basis of petrographic analysis, that these groups were imported to Knossos from south central Crete. In addition, scanning electron microscopy characterizes the technology of production of the Mesara imports, and demonstrates the use of oxidation–reduction–oxidation techniques to produce black in this early period. The Mesara imports at EM II A Knossos mark the first sizeable exchange of pottery at this site in Minoan times. They suggest that in central Crete by EM II A there may have been an inter-regional distribution of a broad range of pottery types from various specialized production centres.
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Daugelaite, Aurelija, Indre Gražulevičiūte-Vileniške, and Mantas Landauskas. "Possibilities to Apply the Urban Acupuncture Concept in Kaunas: Social Aspect." Landscape architecture and art 13 (December 10, 2018): 18–27. http://dx.doi.org/10.22616/j.landarchart.2018.13.02.
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The concept of urban acupuncture, which has been gaining ground in recent decades, is based on the activation and revitalization of urban environments using small architectural or landscape architectural interventions in precise carefully selected locations of urban fabric. However, the rapid and unexpected design solutions of urban acupuncture, based on ecological design, nature dynamics, street art, material re-use, can cause different social and psychological reactions of urban population and these reactions may vary depending on cultural contexts. Consequently, in order to implement successful urban acupuncture projects in Lithuanian cities, it is very important to find out public opinion and priorities in the fields of public space management, aesthetics, and public art. The aim of the research was to analyze the opinion of Kaunas city residents regarding these issues. For this purpose, a sociological questionnaire survey was used. The questionnaire containing 20 questions was designed, with the aim to find out the trends of use of public spaces in the city, the attitudes of residents towards street art and other small-scale initiatives in public spaces implemented in the recent years, possibilities of creating landscape architecture based on ecological ideas in urban environment, the attitude of inhabitants towards community spaces and community space design in the city, etc. 100 residents of Kaunas participated in this online administered survey. The survey has demonstrated general positive attitude towards contemporary design trends of public spaces and public art; however, the surveyed population expressed preferences towards fully equipped public spaces offering possibilities for a wide range of activities.
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El-Deeb, Nahla Ahmed Hamdy. "The Aesthetic and Plastic Values for the Concept of Synthesis through the Ages and the Variables of Material and Designing the Hanging Textile." European Journal of Sustainable Development 9, no. 4 (October 1, 2020): 281. http://dx.doi.org/10.14207/ejsd.2020.v9n4p281.
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Synthesis means intermarriage and compatibility between more than one raw material in a single artwork. Interacting with its various properties and sources to reach a balance between expressive and technical aspects within the framework of the technical and technical capabilities of that raw material. By adding raw materials, they are woven with textured structures or by the new method developed through the art of gluing or collage and the art of assembly through deletion and addition within the scope of plastic treatments of the textile surface or by using both the traditional and the new method combined to merge between Woven materials and added media on the surface of the artwork. The research deals with synthesis through the ages (the ancient Egyptian - Coptic - Islamic - popular) and some schools of modern art (Cubism - Dada - Pop Art) and some pioneers in plastic art in Egypt (Munir Kanaan - Ahmed Nawar - Farghali Abdul Hafeez - Zainab Sabra).
Research Problem: - To what extent can the aesthetic and plastic values be benefited from the different treatments of natural and synthetic textile materials for the concept of synthesis?
Research Aims: - Revealing the aesthetic, plastic, and artistic values of the synthesis method throughout the ages to find new approaches to teaching manual fabric. - Create innovative aesthetic values and formulations on the surface of the tissue sphere. The current research provides a program consisting of 3 teaching entrances that depend on a number of key and sub-concepts proposed for the concept of synthesis through art education.
Keywords: The Aesthetic - Plastic Values - The Concept of Synthesis – Variables of Material and designing - Hanging Textile
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Gjerdingen, Robert O. "Music Theory Pedagogy: What Paul Taught Nadia." Music Theory and Analysis (MTA) 6, no. 2 (October 30, 2019): 230–54. http://dx.doi.org/10.11116/mta.6.2.4.
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The teaching of harmony in the United States, if judged objectively, has been a massive failure, even though a dedicated corps of fine musician-scholars labors to impart the curriculum to eager if not always adequately prepared students. These students are taught "about" harmony, as if the topic were really about tonality or the imaginary desires of chords. The only students who can perform and create harmony at a professional level are those who learned such skills outside the academy. The situation was not always so bleak. Nadia Boulanger, for example, learned the art of harmony from her teacher at the Paris Conservatory, Paul Vidal. Even though she was not taught roman numerals or chord functions, she learned harmony as a performative art, as something to express what was implicit in a given melody or bass. The article describes what Paul taught Nadia, and how the incredibly high standards for crafting harmonic-contrapuntal musical fabrics at the Paris Conservatory could be mastered by students willing to memorize the intricacies of a centuries-old art.
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Sultana, Bushra, Anees Ullah, Arsalan Ali Malik, Ali Zahir, Pedro Reviriego, Fahad Bin Muslim, Nasim Ullah, and Waleed Ahmad. "VR-ZYCAP: A Versatile Resourse-Level ICAP Controller for ZYNQ SOC." Electronics 10, no. 8 (April 9, 2021): 899. http://dx.doi.org/10.3390/electronics10080899.
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Hybrid architectures integrating a processor with an SRAM-based FPGA fabric—for example, Xilinx ZynQ SoC—are increasingly being used as a single-chip solution in several market segments to replace multi-chip designs. These devices not only provide advantages in terms of logic density, cost and integration, but also provide run-time in-field reconfiguration capabilities. However, the current reconfiguration capabilities provided by vendor tools are limited to the module level. Therefore, incremental run-time configuration memory changes require a lengthy compilation time for off-line bitstream generation along with storage and reconfiguration time overheads with traditional vendor methodologies. In this paper, an internal configuration access port (ICAP) controller that provides a versatile fine-grain resource-level incremental reconfiguration of the programmable logic (PL) resources in ZynQ SoC is presented. The proposed controller implemented in PL, called VR-ZyCAP, can reconfigure look-up tables (LUTs) and Flip-Flops (FF). The run-time reconfiguration of FF is achieved through a reset after reconfiguration (RAR)-featured partial bitstream to avoid the unintended state corruption of other memory elements. Along with versatility, our proposed controller improves the reconfiguration time by 30 times for FFs compared to state-of-the-art works while achieving a nearly 400-fold increase in speed for LUTs when compared to vendor-supported software approaches. In addition, it achieves competitive resource utilization when compared to existing approaches.
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Kristiningsih, Kristiningsih, Lestari Lestari, and Wiwik Herawati. "Analisis Strategi Positioning Produk Berdasarkan Persepsi Konsumen Pada Industri Batik Di Jawa Timur." MANAJERIAL 8, no. 01 (January 27, 2021): 85. http://dx.doi.org/10.30587/manajerial.v8i01.1975.
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Background - Competition in the Batik industry in Indonesia is quite sharp. Therefore it is necessary to apply the right marketing strategy in this industry. Whereas each batik industry that originates from the region has its own uniqueness that can attract the attention of consumers. Therefore, a positioning strategy for batik products is needed to be able to create more value in the minds of consumers compared to its competitors. Purpose - This research purposed to describe the position of competition (positioning) on batik industry in East Java based on the perceptions of local batik consumers. Design / Methodology / Approach - The study took samples of batik consumers in 9 cities in East Java, namely Bangkalan, Sidoarjo, Lamongan, Tuban, Pasuruan, Tulungagung, Mojokerto, Ponorogo and Banyuwangi. The population was taken by using purposive sampling technique. Respondents were taken as many as 200 respondents from selected batik producing cities. The research was conducted on 9 kinds of attributes that distinguish the distinctive characteristics of batik between regions in East Java including the quality of the fabric used, the quality of the coloring of the fabrics used, the patterns or motifs, the various colors, prices, design innovation, popularity, value art and intrinsic meaning. To conduct the analysis, analysis techniques using multidimensional scaling were used. Results and Discussion - The results showed a significant difference between the batik in each region which shows the characteristics of the area. The implication of this research was very useful for batik business in East Java to find out their competitive position among this industry in East Java, so that they can determine the right competition strategy according to the advantages or characteristics of each region. Conclusion - There are differences in perceptions of the quality attributes of the fabric material, the quality attributes of fabric coloring, batik patterns or motifs, various colors, prices, design innovation, popularity, artistic value and intrinsic meaning of batik batik in East Java which is the object of this research. Research implication - The research contributions are presented in the form of theoretical contributions and practical contributions. The theoretical contribution made is that this study supports previous research, that marketers can find out the competitive position in the industry through the perceived attributes of consumers. The implication of this research is very useful for marketers to find out who their close competitors are so that marketers can apply the right strategy to deal with competitors. Batik entrepreneurs or craftsmen should make products with high artistic value that characterize the Indonesian culture. Research limitations – The limitation of this study lies in the sample selection, because consumers only know the product attributes that they know, in the next research, consumer selection should preferably be on consumers who know all the characteristics of the businesses being compared. Further research can also examine the segmentation, targeting and positioning policies of batik products in marketing their products in the community.
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Cavalcanti, Daniel D., William Feindel, James T. Goodrich, T. Forcht Dagi, Charles J. Prestigiacomo, and Mark C. Preul. "Anatomy, technology, art, and culture: toward a realistic perspective of the brain." Neurosurgical Focus 27, no. 3 (September 2009): E2. http://dx.doi.org/10.3171/2009.7.focus09127.
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In the 15th century, brain illustration began to change from a schematic system that involved scant objective rendering of the brain, to accurate depictions based on anatomical dissections that demanded significant artistic talent. Notable examples of this innovation are the drawings of Leonardo da Vinci (1498–1504), Andreas Vesalius' association with the bottega of Titian to produce the drawings of Vesalius' De humani corporis fabrica (1543), and Christopher Wren's illustrations for Thomas Willis' Cerebri Anatome (1664). These works appeared during the Renaissance and Age of Enlightenment, when advances in brain imaging, or really brain rendering, reflected not only the abilities and dedications of the artists, but also the influences of important cultural and scientific factors. Anatomy and human dissection became popular social phenomena as well as scholarly pursuits, linked with the world of the fine arts. The working philosophy of these artists involved active participation in both anatomical study and illustration, and the belief that their discoveries of the natural world could best be communicated by rendering them in objective form (that is, with realistic perspective). From their studies emerged the beginning of contemporary brain imaging. In this article, the authors examine how the brain began to be imaged in realism within a cultural and scientific milieu that witnessed the emergence of anatomical dissection, the geometry of linear perspective, and the closer confluence of art and science.
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Ahrendt, Dustin, and Arturo Romero Karam. "Development of a computer-aided engineering–supported process for the manufacturing of customized orthopaedic devices by three-dimensional printing onto textile surfaces." Journal of Engineered Fibers and Fabrics 15 (January 2020): 155892502091762. http://dx.doi.org/10.1177/1558925020917627.
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Today, additive manufacturing, also called three-dimensional printing, is used for producing prototypes as well as other products for various industrial sectors. Although this technology is already well established in the automotive, aviation and space travel, building, dental and medical sectors, its integration in the textile and ready-made industry is still in progress. At present, there is a lack of specific application scenarios for the combination of three-dimensional printing and textile materials, apart from fashion and shoe design. Hence, this article presents a digital computer-aided engineering–supported process to manufacture customized orthopaedic devices by three-dimensional printing directly onto a textile fabric. State-of-the-art fabrication methods for orthoses are typically labour intensive. The combination of three-dimensional scanning, computer-aided design modelling and three-dimensional printing onto textile materials open up new possibilities for producing custom-made products. After three-dimensional scanning of a patient’s individual body shape, the surface is prepared for constructing the textile pattern cuts by reverse engineering. The transformation of the designed three-dimensional patterns into two-dimensional is software supported. Additional positioning lines in accordance with specific body measurements are transferred onto the two-dimensional pattern cuts, which are then used as the basis for the design of the three-dimensional printed functional elements. Subsequently, the design is saved in STL (Standard Triangulation/Tessellation Language) file format, prepared by slicing and directly printed onto textile pattern cuts by means of fused deposition modelling. The last manufacturing step involves the assembly of the textile fabric. The proposed process is demonstrated by an example application scenario, thus proving its potential for industrial use in the textile and ready-made industry.
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Sobota Matejčić, Gordana. "Institute for History of Art, Zagreb." Ars Adriatica, no. 2 (January 1, 2012): 167. http://dx.doi.org/10.15291/ars.447.
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In 2005, during the composing of the Inventory of the Moveable Cultural Heritage of the Church and Monastery of St Francis of Assisi at Krk, three wooden statues were found in the attic. These had once belonged to a lavish Renaissance triptych at the centre of which was a figure of the Virgin (107 x 45 x 27 cm), flanked by the figures of St John the Baptist (c. 105 x 28 x 30 cm), an apostle with a book (c. 93 x 32 x 22 cm), and, in all likelihood, St James the Apostle. A trace of a small left foot in the Virgin’s lap indicates that the original composition was that of the Virgin and Child. It is highly likely that these statues originally belonged to the altar of St James which mentioned by Augustino Valier during his visitation of the Church of St Francis of Assisi in 1579 as having a pala honorifica . Harmonious proportions, fine modelling of the heads, beautifully and confidently carved drapery of the fabrics, together with almost classical gestures, all point to a good master carver who, in this case, sought inspiration in Venetian painting of the 1520s and 1530s. When attempting to find close parallels in the production of Venetian wood-carving workshops from the first half of the sixteenth century, without a doubt the best candidates are two signed statues from the workshop of Paolo Campsa de Boboti: the statue of the Risen Christ from the parish church of St Lawrence at Soave in Italy, dated to 1533, and the statue of the Virgin and Child in a private collection in Italy, dated to 1534. To these one can add a statue from the Gianfranco Luzzetti collection at Florence, which has been attributed to Campsa’s workshop. Judging from all the above, the statues from St Francis’ might be dated to the 1540s. In the parish church of Holy Trinity at Baška is a wooden triptych which, according to a nineteenth-century record, was inscribed with Campsa’s signature and the year 1514. When Bishop Stefanus David visited the Chapel of St Michael at Baška in 1685, he described in detail this wooden and carved palla on the main altar dedicated to St Michael, noting that the altar is under the patronage of the Papić family who had founded it and made considerable donations to it. The high altar in the Church of St Mary Magdalene at Porat, also on the island of Krk, has a polyptych attributed to Girolamo and Francesco da Santa Croce. Until now, it has been dated to 1556 - the year of the dedication of the altar and the church. However, more frequently than not, a number of years could pass between the furnishing of an altar and its dedication. With this in mind and having re-analyzed the paintings, the polyptych can be dated as early as the previous decade. Until now, the Renaissance statue of St Mary Magdalene (105 x 25 x 13 cm), originally part of an altar predella but today housed in the Monastery’s collection, was not discussed in the scholarly literature save for its iconography. Based on the morphological similarities between the statue of St Mary Magdalene and the three statues at Krk, it can be concluded that they were carved by the same master carver. Written sources inform us that after 1541 Paolo Campsa was no longer alive. Great differences between the works signed by Campsa have already been the subject of scholarly debate and it is known that due to high demand, his workshop included a number of highly skilled wood carvers. In the case of Krk, perhaps the master carver was an employee at Campsa’s workshop who outlived him and who, after its closure, went his own way and was considered good enough to be hired by fellow painters from the Santa Croce workshop. Installing a statue in a predella was a rare occurrence in sixteenth-century Croatia and Venice alike. Even in the case of Campsa. Reliefs were used more frequently. However, this arrangement was customary on contemporary flügelaltaren in the trans-Alpine north. It ought to be considered whether this northern altar design might provide a trail which would lead to a more specific location of a possible master carver.
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Perkins, Sid. "Fine Fabric." Science News 168, no. 8 (August 20, 2005): 115. http://dx.doi.org/10.2307/4016538.
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Foster, Richard. "A Statue of Henry III from Westminster Abbey." Antiquaries Journal 91 (June 30, 2011): 253–82. http://dx.doi.org/10.1017/s0003581511000096.
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AbstractIt is generally assumed that no medieval figure sculpture has survived from the north front of the nave of Westminster Abbey after three and a half centuries of successive restorations. This assumption was challenged by the appearance at auction in 2007 of a life-sized statue of Henry iii bearing some of the stylistic hallmarks of the late thirteenth and fourteenth centuries. The statue, according to its vendor, was acquired from the masons’ yard at Westminster Abbey in 1980, during the most recent major restoration of the north front carried out by Peter Foster, Surveyor of the Fabric until 1988. It was removed from the site with the consent of the contractors. Until the auction, it had been chained to a wall in the vendor's garden. The art dealer who bought the figure identified it as Henry iii from its close resemblance to the thirteenth-century tomb effigy of the king in Westminster Abbey. He purchased the statue in anticipation of it proving to be of a similar date. The purpose of this paper is to review the documented history of the figure sculpture on the north front of the abbey's nave and find a place for this statue within it.
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Mohanakrishnan, D., and M. Sureshkumar. "A Comparative Analysis of Orientation on the Shape Memory Effect of Fabric Reinforced Shape Memory Polymer Composites." Materials Science Forum 830-831 (September 2015): 529–32. http://dx.doi.org/10.4028/www.scientific.net/msf.830-831.529.
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Shape memory polymer composites (SMPC) are a new kind of smart materials where many researches have been carried out. In SMPC, shape memory polymers serves as a matrix material and particles or fibers act as reinforcements. As structural applications demand structures to withstand load and stiffness, particles reinforced SMPC does not serve for it. Therefore fiber/fabric reinforced SMPC used widely for such applications. SMPC’S changes its shape during a typical thermo-mechanical cycle and retracts to its original shape upon external stimulus (temperature). Molecular mechanism is the driving force of these SMP’s. SMP consists of 1.molecular switches and 2. netpoints. This project deals with Epoxy shape memory resin (Matrix material) and fabrics such as Glass, Kevlar and Carbon (Reinforcements).A Comparative analysis was carried out to find which combination gives the best results by bend test. Different orientations were tried for bidirectional fabrics such as (0/90)3, (0/45)3, ((0/90)/(±45)/(0/90)) specimens. Finally it was concluded that Carbon fabric which has the orientation of (0/90/±45/0/90) gives better shape memory performance.
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YAMAMOTO, ATSUSHI. "Fine Melange Fabric, "MIXICA"." FIBER 64, no. 12 (2008): P.444—P.447. http://dx.doi.org/10.2115/fiber.64.p_444.
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Ottenhausen, Clemens. "FROM TEXTILE TO PLASTIC: ARCHITECTURE, EXHIBITION DESIGN, AND ABSTRACTION (1930–1955)." Artium Quaestiones, no. 32 (December 15, 2021): 89–112. http://dx.doi.org/10.14746/aq.2021.32.4.
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This article investigates the growing proliferation of curtains and wall hangings as key elements in the design of art exhibitions in the years 1930–1955. To demonstrate how textiles were successfully employed as mediators on the threshold between architecture, design objects, and fine arts, I first examine the increasing use of curtains in the interwar period, Fascist Italy, and Nazi Germany to subsequently explore how the role of fabrics in both countries’ rationalist and neoclassicist architecture also played a significant part in exhibition design after the Second World War. I chart how the interest in textiles culminated in 1955, when glossy plastic curtains were integrated into the exhibition architecture at the first documenta in Kassel, Germany, one of the country’s most prestigious recurring art events to this day. During these politically turbulent decades, the exchange between exhibition designers in both countries was bound together by a profound reassessment of the relation between architecture, design, and art. The renewed consciousness of design as an integrated practice played a key role in 1930s architecture, also providing the foundation for the Bauhaus curriculum and the work of artists, designers, and architects (e.g., Wassily Kandinsky, Giuseppe Pagano, Le Corbusier, Carlo Scarpa, Willi Baumeister, Arnold Bode). I demonstrate that during this period textiles were essential for creating continuity between exhibitions and exhibits of vastly differing styles and contexts. The wall hangings, veils, and banners that were used as part of the monumental spaces created for the Fascist regimes in Italy and Germany were ultimately appropriated and turned into means to undermine the neoclassicist and rationalist style in a way that echoed, I argue, society’s neobaroque sensibility in the aftermath of World War II. Though the Federal Republic of Germany’s first two decades were characterized by the general will to educate its citizens in the aesthetics of internationalism, this effort and the concomitant return to the interwar period were accompanied by a strong resurgence in religiosity and desire for emotionally compelling experiences, which signify a partial disavowal of modernism’s most radical stipulations.
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Charitopoulos, George, Dionisios N. Pnevmatikatos, and Georgi Gaydadjiev. "MC-DeF." ACM Transactions on Architecture and Code Optimization 18, no. 3 (June 2021): 1–25. http://dx.doi.org/10.1145/3447970.
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Executing complex scientific applications on Coarse-Grain Reconfigurable Arrays ( CGRAs ) promises improvements in execution time and/or energy consumption compared to optimized software implementations or even fully customized hardware solutions. Typical CGRA architectures contain of multiple instances of the same compute module that consist of simple and general hardware units such as ALUs, simple processors. However, generality in the cell contents, while convenient for serving a wide variety of applications, penalizes performance and energy efficiency. To that end, a few proposed CGRAs use custom logic tailored to a particular application’s specific characteristics in the compute module. This approach, while much more efficient, restricts the versatility of the array. To date, versatility at hardware speeds is only supported with Field programmable gate arrays (FPGAs), that are reconfigurable at a very fine grain. This work proposes MC-DeF, a novel Mixed-CGRA Definition Framework targeting a Mixed-CGRA architecture that leverages the advantages of CGRAs by utilizing a customized cell array, and those of FPGAs by incorporating a separate LUT array used for adaptability. The framework presented aims to develop a complete CGRA architecture. First, a cell structure and functionality definition phase creates highly customized application/domain specific CGRA cells. Then, mapping and routing phases define the CGRA connectivity and cell-LUT array transactions. Finally, an energy and area estimation phase presents the user with area occupancy and energy consumption estimations of the final design. MC-DeF uses novel algorithms and cost functions driven by user defined metrics, threshold values, and area/energy restrictions. The benefits of our framework, besides creating fast and efficient CGRA designs, include design space exploration capabilities offered to the user. The validity of the presented framework is demonstrated by evaluating and creating CGRA designs of nine applications. Additionally, we provide comparisons of MC-DeF with state-of-the-art related works, and show that MC-DeF offers competitive performance (in terms of internal bandwidth and processing throughput) even compared against much larger designs, and requires fewer physical resources to achieve this level of performance. Finally, MC-DeF is able to better utilize the underlying FPGA fabric and achieves the best efficiency (measured in LUT/GOPs).
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San Choon Kim. "Fine Art? Ugly Art?" Sogang Journal of Philosophy 37, no. ll (May 2014): 9–29. http://dx.doi.org/10.17325/sgjp.2014.37..9.
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Weinstein, Nicole. "Fine art." Nursery World 2016, no. 4 (February 22, 2016): 30–31. http://dx.doi.org/10.12968/nuwa.2016.4.30.
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Yao, Jiang Wei, and Wei Dong Yu. "Study on the Properties and Application of Optim™ Fine Fibers." Advanced Materials Research 287-290 (July 2011): 2561–64. http://dx.doi.org/10.4028/www.scientific.net/amr.287-290.2561.
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Optim™ fine is a new generation of ultrafine wool fibres, which are transformed by stretching and setting from merino wool. The Optim™ fine retains some of the physical and chemical properties of merino wool, but the morphology and other properties changes, such as the diameter, length, lusture, breaking extension and shrinkage. These changes results in the performance difference btween the fabric woven from Optim™ fine and fine wool fiber. To clearly understande the reason of the difference, the morphological and physical properties changes of Optim™ fine was examined in this paper, and the performance difference between wool fabric and Optim™ fine fabric was evaluated by Fabric Assurance by Simple Testing(FAST). It was found that the decreasing in breaking extension and increasing in shrinkage of Optim™ fine resulted in the declining in formability and dimensional stability of Optim™ fine fabric. Suggestions on the ways of constructing Optim™ fine into fabric were also given according to the anlysis of relationship between the properties changes of Optim™ fine fiber and that of its fabric.
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Sari, Wahyu Triana, and Syamsul Bakhri. "STRATEGI DAN TANTANGAN PENGRAJIN LURIK KEMBANGAN DALAM MENGHADAPI PERSAINGAN USAHA INDUSTRI LURIK DI YOGYAKARTA." EQUILIBRIA PENDIDIKAN : Jurnal Ilmiah Pendidikan Ekonomi 2, no. 1 (January 18, 2018): 11. http://dx.doi.org/10.26877/ep.v2i1.1824.
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Abstract Lurik Kembangan is a traditional art product of Yogyakarta. Lurik Kembangan which still survive until now made by Non-Machine Weaving Machine. The more days pass, the variety of lurik becoming more diverse and creating more various products from fabric lurik. However, business competition is getting worse because there is only a few young people who willing to work as craftsmen and the impact of industrialization in Yogyakarta resulting the craftsmen’s income decreases. Qualitative research with case study approach aims to find out the strategies and challenges of lurik craftsmen in facing strait industry competition in Yogyakarta. Validity of data obtained by triangulation of data source. The technique of data analysis is done by integrating observation data at the production place of lurik group Maju Mandiri, Interview with craftsmen, Chairman of Maju Mandiri luric group, and documentation from various sources to support information about Lurik Kembangan craftsmenship. The theory used is Karl Marx's Theory of Capitalism and Theory of Glocalization from Robertson. The results showed that the strategy of the artisans of Lurik Kembangan in facing business competition is to create product innovation; maintaining the quality of traditional lurik; and expand the scope of marketing. The challenge of the craftsmen is to maintain the Lurik Kembangan increasingly heavy because the youth choose to work in factories or other sectors; competition in the middle of Yogyakarta industrialization makes the marketing of weaving lurik become increasingly narrow; the impact of the industrialization created the class of capital owners and craftsmen.Keywords: Industry, Lurik, Strategy, Challenge
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Khachatrian, Liernik. "SOUND IMAGE OF DUDUK IN CHAMBER‑SYMPHONIC WORKS OF A. TERTERYAN AND R. ALTUNYAN." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 129–43. http://dx.doi.org/10.34064/khnum1-58.08.
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Introduction. Today duduk is one of the most popular folk instruments. Modern academic composers include it in their works, and it is significant that it appears in large conceptual compositions, such as a symphony. Despite the significant interest of researchers in the fine art of playing the duduk, the sound image of this instrument is almost not assigned a role, and this article aims to fill this gap. Formulation of the problem. Today duduk is one of the most popular folk instruments. Modern academic composers include it in their works, and it is significant that it appears in large conceptual compositions, such as a symphony. Despite the significant interest of researchers in the fine art of playing the duduk, the sound image of this instrument is almost not assigned a role, and this article aims to fill this gap. Analysis of the latest publications on the topic. Metaphor is a rather unstable term in the perception of art and has many unstable categories. O. Dyachkova paid special attention to the aspect of artistic metaphor, and the knowledge of symbols in music through the understanding of metaphor and up to the metaphysics of images was carried out by Yu. Nikolaevska. Also in this article we rely on the study of themes in Armenian music (J. Zubaryan) and the role of duduk in modern music (M. Rukhmyan). The purpose of the article is to reveal the sound image of the duduk in the chamber-symphonic works of A. Terteryan and R. Altunyan through the selection of the category of timbre of metaphor. Methods. In order to realize this purpose, many general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussions. In this article it is offered to investigate the phenomenon of the timbre of metaphor through the sound image of a duduk on the example of symphonic works of today. A characteristic review of R. Altunyan’s symphonic works from the standpoint of using such an archaic instrument with a long history as a duduk is given. Symbolic programmaticity, sound aura, genre-stylistic signs, melody based on the Armenian monody are all business cards of A. Terteryan’s main works. An analytical thorough consideration of the Third Symphony of this composer has been made, where the great role of the timbre of the duduk, which closely interacts with the zurna, bells and other participants of this work, is evident. The connection between modern music making and the traditions of ancient times has been traced, which makes it impossible to exist without each other. We have to reveal the sound image of the duduk in the chamber-symphonic works of A. Terteryan and R. Altunyan through the selection of the category of timbre of metaphor. Metaphor is not a rare phenomenon in modern art. It is everywhere, from literature and painting to manifestations in architecture. Even in the music sphere, it is not possible without it and is used in different variations. O. Dyachkova for the first time systematized all existing theories of metaphor, considering it from different specific angles of musicology. Thus, we will consider metaphor as a general aesthetic principle of musical art, a phenomenon of re-intonation and as a special form of dialogue of the artist with the world. «Metaphor as a kind of artistic discovery depends on the intonation and semantic memory of the listeners». With this thesis, O. Dyachkova offers us to comprehend the full depth of this concept and to understand that metaphor is also closely connected with semantics and intonation, which directly explosively interacts with the timbre. Therefore, the derivation of the concept of «timbre of metaphor» has a very clear basis. It is further suggested to pay more attention to the duduk and its remarkable timbre possibilities in the zone of metaphorical phenomena. The timbre of the duduk occupied a high position in the art of cinema, as well as in small academic genres, especially songwriting. The weaving of a duduk into the score of a work, its figurative and semantic load in it, differs depending on the author’s intention. For example, in “Let the Field” for chamber string orchestra and bells with bagpipes by R. Altunyan, Armenian folk instruments seem to remind of themselves, cry out for the revival of their tradition. The composer, using an ensemble of four bagpipes (soprano, alto, tenor, baritone) and zurna, seeks to preserve the ancient traditions of the Armenian people, as he emerges from the situation of dying tradition, almost pictorially painting the “empty field” in which he, the composer, revives this tradition. Duduk performs a slightly different semantic load in A. Terteryan’s Third Symphony, composed in 1975. A. Terteryan’s work took an important place in the development of Armenian music in line with the modernist trends of the second half of the twentieth century. It became an example of the most radical combination of innovation and tradition and marked the beginning of a new stage in the development of Armenian symphony. This is largely due to the specifics of the composer’s thinking, which is based on the principle of connection and interaction of a kind of two “stylistic” poles – the musical art of West and East. Researchers consider A. Terteryan’s symphony from the point of view of neo-symbolism, which emerged in the art of the second half of the twentieth century, which defined “the scope and depth of cosmosophical concepts, the universalism of the musical language of symphonies”. They are based on the sonorous technique of writing, colorful undifferentiated layers of musical fabric. The atom of symphonic music is sound, which is “represented by the simplest primary element of music”; it also carries the main semantic load, is a “grain” from which the whole theme of the work can be grown. In A. Terteryan’s symphonies symbolic programmaticity is connected with genre-stylistic signs of “music of the past”, which activates the «memory of music». At the same time, it is the ancient folk instruments that bear this semantic symbolic load, which embodies the incorruptible images of the folk culture of Armenia. Thus, the duduk in A. Terteryan’s work connects modernity and gray antiquity, giving music special national features, distinguishing it from the general context of symphony of the twentieth century. Conclusions. The sound image of the duduk in the chamber-symphonic works of R. Altunyan and A. Terteryan reflects and explains the interpretation of the timbre of the metaphor, which is quite new for the perception of such a not entirely academic instrument by musicologists.
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Harper, Catherine. "Damn Fine Art." Circa, no. 88 (1999): 63. http://dx.doi.org/10.2307/25563413.
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Bristol, Liliana. "Goldwork in Estonia in the 20th century as exemplified by a fragment of the altar cloth at the Kaarli Church in Tallinn." Studia Vernacula 8 (November 13, 2017): 109–21. http://dx.doi.org/10.12697/sv.2017.8.109-121.
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The aim of this article is to introduce the Estonian goldwork tradition. In folk art, goldwork, or metalwork embroidery, has also been referred to as ‘tinsel embroidery’. It is a form of embroidery which uses different types of metal threads (containing gold, silver, copper, and other metals) and spirals, which are attached to the fabric using a fine thread. In the Estonian context, goldwork is a somewhat rarefied and narrowly-spread handicraft technique.
In Estonia, goldwork played an important role in the decoration of church and military textiles. At the request of the Lutheran Church, goldwork was taught at the Department of Textile Design of the State School of Arts and Crafts between 1935 and 1940. In 1937, Aino Schmidt, an alumna of that institution, created several custom-made altar cloths, embellished with goldwork for the Kaarli Church in Tallinn. Rather than being made from velvet, as was typical at the time, the altar frontal and two lectern covers were made from white baize and embroidered with metal studs as well as with golden threads, spirals, and beads. Since the zeitgeist encouraged the young nation state to emphasise its uniqueness, it is understandable that ecclesiastical symbols were presented with simple traditional ornamentation and stylisation. After World War II, Estonia’s territory was incorporated into the Soviet Union, and churches came to be looked on with great disdain, thus the creation of church textiles and goldwork came to a halt. The creation of new textiles for churches resumed once more when Estonia regained its independence. Unfortunately, goldwork is no longer used in the creation of the textiles for the Estonian Lutheran Church and tapestry-weaving techniques are preferred instead.
Nowadays there is no educational institution in Estonia where it would be possible to study the art of goldwork. Nor is there any master in Estonia who focuses on goldwork, nor anybody shaped by the local tradition from the beginning of the past century who would be able to teach the art of goldwork. And no instructions survive as to how goldwork was taught at the State School of Arts and Crafts. Since the teachers and the local master had a background in earlier traditions, it might be assumed that these instructions were mainly influenced by the Vienna and St. Petersburg schools.
This article therefore mainly draws deliberately on the textiles that Schmidt created for the Kaarli Church in Tallinn; albeit the textiles have been ravaged by time. In addition, it is possible to draw on the knowledge and skills I have acquired while working under the guidance of Tatjana Kolosova (a representative of the English goldwork tradition) in Riga and the nuns at the Mount of Olives Convent of the Ascension of Our Lord in Jerusalem (representatives of the Moscow goldwork tradition). I singled out a pattern fragment where each technique used on the entire altar cloth was present. I paid close attention to the technology of the original artefact during the process of reconstruction. Although I did rely on modern possibilities in a few of the preparatory stages, traditional and time-consuming techniques were used while working on the reconstruction. Although my aim was to study the proper technique during the process of reconstruction and not to imitate the original, I did try to use as much as possible materials that were similar to the original.
My so-called hands-on approach allowed me to conduct a more diverse study on old technical solutions, offering an opportunity to learn from the old masters without meeting them in person. The artefacts I examined, and which acted for me as the main means of communication with the past masters, were placed in a larger cultural framework and an overview concerning what is known about these masters has also been included in my study. The present study and reconstruction is an important step towards rediscovering goldwork techniques.
Keywords: goldwork, goldwork embroiderer, altar cloth, church vestments, reconstruction
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Bristol, Liliana. "Goldwork in Estonia in the 20th century as exemplified by a fragment of the altar cloth at the Kaarli Church in Tallinn." Studia Vernacula 8 (November 13, 2017): 109–21. http://dx.doi.org/10.12697/sv.2017.8.109-121.
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The aim of this article is to introduce the Estonian goldwork tradition. In folk art, goldwork, or metalwork embroidery, has also been referred to as ‘tinsel embroidery’. It is a form of embroidery which uses different types of metal threads (containing gold, silver, copper, and other metals) and spirals, which are attached to the fabric using a fine thread. In the Estonian context, goldwork is a somewhat rarefied and narrowly-spread handicraft technique.
In Estonia, goldwork played an important role in the decoration of church and military textiles. At the request of the Lutheran Church, goldwork was taught at the Department of Textile Design of the State School of Arts and Crafts between 1935 and 1940. In 1937, Aino Schmidt, an alumna of that institution, created several custom-made altar cloths, embellished with goldwork for the Kaarli Church in Tallinn. Rather than being made from velvet, as was typical at the time, the altar frontal and two lectern covers were made from white baize and embroidered with metal studs as well as with golden threads, spirals, and beads. Since the zeitgeist encouraged the young nation state to emphasise its uniqueness, it is understandable that ecclesiastical symbols were presented with simple traditional ornamentation and stylisation. After World War II, Estonia’s territory was incorporated into the Soviet Union, and churches came to be looked on with great disdain, thus the creation of church textiles and goldwork came to a halt. The creation of new textiles for churches resumed once more when Estonia regained its independence. Unfortunately, goldwork is no longer used in the creation of the textiles for the Estonian Lutheran Church and tapestry-weaving techniques are preferred instead.
Nowadays there is no educational institution in Estonia where it would be possible to study the art of goldwork. Nor is there any master in Estonia who focuses on goldwork, nor anybody shaped by the local tradition from the beginning of the past century who would be able to teach the art of goldwork. And no instructions survive as to how goldwork was taught at the State School of Arts and Crafts. Since the teachers and the local master had a background in earlier traditions, it might be assumed that these instructions were mainly influenced by the Vienna and St. Petersburg schools.
This article therefore mainly draws deliberately on the textiles that Schmidt created for the Kaarli Church in Tallinn; albeit the textiles have been ravaged by time. In addition, it is possible to draw on the knowledge and skills I have acquired while working under the guidance of Tatjana Kolosova (a representative of the English goldwork tradition) in Riga and the nuns at the Mount of Olives Convent of the Ascension of Our Lord in Jerusalem (representatives of the Moscow goldwork tradition). I singled out a pattern fragment where each technique used on the entire altar cloth was present. I paid close attention to the technology of the original artefact during the process of reconstruction. Although I did rely on modern possibilities in a few of the preparatory stages, traditional and time-consuming techniques were used while working on the reconstruction. Although my aim was to study the proper technique during the process of reconstruction and not to imitate the original, I did try to use as much as possible materials that were similar to the original.
My so-called hands-on approach allowed me to conduct a more diverse study on old technical solutions, offering an opportunity to learn from the old masters without meeting them in person. The artefacts I examined, and which acted for me as the main means of communication with the past masters, were placed in a larger cultural framework and an overview concerning what is known about these masters has also been included in my study. The present study and reconstruction is an important step towards rediscovering goldwork techniques.
Keywords: goldwork, goldwork embroiderer, altar cloth, church vestments, reconstruction
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Farberova, Еlena A., Anastasia Yu Katysheva, Elena A. Tingaeva, Sergey A. Smirnov, and Andrey G. Starostin. "RESEARCH OF POSSIBILITY OF USING CHEMICAL METHOD OF FINE METAL PARTICLES REDUCTION FOR BACTERICIDAL SORBENTS PRODUCTION." IZVESTIYA VYSSHIKH UCHEBNYKH ZAVEDENII KHIMIYA KHIMICHESKAYA TEKHNOLOGIYA 63, no. 3 (March 8, 2020): 46–53. http://dx.doi.org/10.6060/ivkkt.20206303.6047.
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The present paper is concerned with a research of sorption and bactericidal properties of the fine metal particles applied on the surface of active carbon fabric by chemical sedimentation method. The ascorbic acid and natrium borane were used in the study process as metals, copper and silver reducing agents. Influence of reducer and fine metal nature onto the porous structure, as well as bactericidal and sorption characteristics of obtained fibrous sorbent samples are shown. It is determined that use of ascorbic acid for synthesis of copper and silver fine particles on the active carbon fabrics surface leads to the considerable decrease in a specific surface and volumes of meso - and micropores of the obtained sorbent in comparison with initial active carbon fabric. When using the natrium borane as reducer of fine copper particles the decrease in a specific surface and volumes of sorption pores is also observed. However, when using the natrium borane, the active carbon fabric samples modified with silver particles or with their composition with fine copper particles, had the higher values of porous structure main characteristics in comparison with the initial active carbon fabric. The nature of distribution of fine metal particles at the active carbon fabric surface was investigated by the electronic microscopy method. It was found that during the chemical reduction process the particles of fine copper attached to active carbon fabric fibers, being almost evenly distributed at all surface of fabric. Particles of silver were located as crystal congestions along fibers. Sorption and bactericidal properties of the received samples of modified active carbon fabrics are investigated. Their high sensitivity to microorganism cells which remains during a long storage period is demonstrated. Herewith, the active carbon fabric, modified with particles of fine copper and silver, keeps high sorption properties.
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Hlukhovtseva, Iryna. "Variant-synonymous varieties of generally used phrases in the works of M. Rudenko (lexical, morphological and phonetic)." Linguistics, no. 1 (43) (2021): 57–66. http://dx.doi.org/10.12958/2227-2631-2021-1-43-57-66.
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The article analyzes the variant-synonymous varieties of commonly used phrases used by M. Rudenko in his works, determines their functional load in the structure of the literary text. The subject of consideration are modified units that form variant or synonymous pairs with codified forms. In prose works, the author often uses variants of commonly used codified phraseological units or their synonyms. In the scientific literature, unfortunately, there are no clear criteria for distinguishing between variants and synonyms of phrases. Therefore, following V. Uzhchenko, we use the terms variant-synonymous pair (pair of phrases that are in synonymous relations or are considered as variants) or variant-synonymous type of phraseological unit (a type of commonly used expression that is its variant or synonym). The emergence of these units of the phraseological system is mainly due to the substitution of one structural component of the expression to another. Most often in a stable combination of words the verb is replaced (there are 19 such phrases), less often the noun (15 units). Adjectives or verbs, pronouns can also be replaced. Rudenko skillfully uses also known methods of creative comprehension of phraseology in the fabric of a work of art. First of all, he resorted to expanding the component composition of a stable combination of words, so that the newly introduced author’s words complicate the traditional formula of phraseology, while enhancing their expressiveness. By actualizing the statement, the author reduces the component composition of the phrase, because a short version of the phraseology involves knowledge of a more complete form and thus intrigues the reader. The general meaning of the whole image of the phrase is often conveyed by the author descriptively, which creates a new expression. Rudenko rarely introduces formal variants, but in artistic texts we find morphological and phonetic variants of commonly used phrases.
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Mitchell, Victoria. "Textiles: Art and the Social Fabric." TEXTILE 9, no. 2 (July 2011): 230–38. http://dx.doi.org/10.2752/175183511x13055600095608.
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Marinković, Slobodan, Tatjana Stošić-Opinćal, and Oliver Tomić. "Radiology and Fine Art." American Journal of Roentgenology 199, no. 1 (July 2012): W24—W26. http://dx.doi.org/10.2214/ajr.11.7934.
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White, Hilary. "It's a fine art." Practical Pre-School 2008, no. 92 (September 2008): 13–14. http://dx.doi.org/10.12968/prps.2008.1.92.37971.
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ATKINSON, R. L. "Geology and fine art." Geology Today 5, no. 6 (November 1989): 198. http://dx.doi.org/10.1111/j.1365-2451.1989.tb00667.x.
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Fortnum, Rebecca, and Christine Pybus. "Challenging fine art pedagogies." Art, Design & Communication in Higher Education 13, no. 1 (April 1, 2014): 3–6. http://dx.doi.org/10.1386/adch.13.1.3_2.
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Brus, Viktor V., Marc Gluba, Jörg Rappich, Felix Lang, Pavlo D. Maryanchuk, and Norbert H. Nickel. "Fine Art of Thermoelectricity." ACS Applied Materials & Interfaces 10, no. 5 (January 28, 2018): 4737–42. http://dx.doi.org/10.1021/acsami.7b17491.
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Berte, Lucia M. "Quality as Fine Art." Laboratory Medicine 38, no. 6 (June 2007): 345. http://dx.doi.org/10.1309/7renltb6xf7va4xt.
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Sandhu, Vijay Kumari. "Inspection—A Fine Art." JAMA Dermatology 154, no. 5 (May 1, 2018): 630. http://dx.doi.org/10.1001/jamadermatol.2018.0307.
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Syafei, Syafei, Efrizal Efrizal, Yasrul Sami, Zubaidah Zubaidah, Ariusmedi Ariusmedi, and Maltha Kharisma. "PENERAPAN RAGAM HIAS MINANGKABAU DALAM PEMBELAJARAN MEMBATIK BAGI GURU SENI BUDAYA SMPN DAN MTsN KABUPATEN PADANG PARIAMAN." Gorga : Jurnal Seni Rupa 10, no. 2 (December 30, 2021): 522. http://dx.doi.org/10.24114/gr.v10i2.31709.
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One of the obstacles in improving the quality of education and learning in schools is the lack of improvement in the quality of teachers. In addition, the limited opportunity to gain additional knowledge and skills for teachers is the cause of the decline in the quality of education. The results of the instructor team's discussion with Desmiyanti, S, Pd. a teacher in the field of Fine Arts Studies at SMPN 2 VII Koto Sungai Sariak, Padang Pariaman Regency (2020) that: the implementation of Fine Arts learning at SMPN Padang Pariaman Regency is on average taught by teachers with educational backgrounds other than Fine Arts. One indication shows the low ability of teachers in batik learning materials that require theory and practice of standard materials and equipment and procedures. As a consequence, the learning of fine arts, especially batik material, does not work properly. Especially if it is related to batik materials and equipment, the average junior high school level has received subsidies from the education office. However, in reality, teachers are not able to utilize the materials and equipment of batik that are already available for learning fine arts. Concerns about the inability of teachers in the learning process, especially this batik material, require teachers to attend education and training/workshops on: "The Application of Minangkabau Ornaments in Batik Learning for Middle School and MTsN Cultural Arts Teachers in Padang Pariaman Regency", so that junior high school arts and culture teachers /MTsN is able to teach one of the Competency Standards, namely: (4.1) "application of Decorative Variety on textiles based on fabrics" in class VII.Keywords: art and culture, membatik.AbstrakSalah satu kendala dalam meningkatkan kualitas pendidikan dan pembelajaran di sekolah-sekolah adalah kurangnya perbaikan terhadap kualitas guru. Di samping itu keterbatasan kesempatan untuk mendapatkan penambahan ilmu dan keterampilan bagi guru menjadi penyebab turunnya mutu pendidikan. Hasil diskusi tim instruktur dengan Desmiyanti, S,Pd. guru bidang Studi Seni Rupa SMPN 2 VII Koto Sungai Sariak Kabupaten Padang Pariaman (2020) bahwa: pelaksanaan pembelajaran Seni Rupa di SMPN Kabupaten Padang Pariaman rata-rata diajar oleh guru-guru dengan latar belakang pendidikan bukan Seni Rupa. Salah satu indikasi menunjukkan rendahnya kemampuan guru dalam materi pembelajaran membatik yang membutuhkan teori dan praktik bahan dan peralatan serta perosedur yang baku. Konsekuensinya, pembelajaran seni rupa khususnya materi membatik tidak berjalan menurut semestinya. Apalagi jika dikaitkan dengan bahan dan peralatan membatik yang rata-rata sekolah tingkat SMP sudah mendapatkan subsidi dari dinas pendidikan. Namun kenyataannya, guru tidak mampu memanfaatkan bahan dan peralatan membatik yang sudah tersedia untuk pembelajaran seni rupa. Kekhawatiran terhadap ketidakmampuan guru dalam proses pembelajaran khususnya materi membatik ini, mengharuskan guru mengikuti pendidikan dan pelatihan/ workshop tentang:“Penerapan Ragam Hias Minangkabau dalam Pembelajaran Membatik bagi Guru-Guru Seni Budaya SMP dan MTsN di Kabupaten Padang Pariaman”, sehingga guru seni budaya SMP/MTsN mampu mengajarkan salah satu Standar Kompetensi yaitu: (4.1) “penerapan Ragam Hias pada tekstil basis kain” di kelas VII. Kata Kunci:seni budaya, membatik. Authors:Syafei : Universitas Negeri PadangEfrizal : Universitas Negeri PadangYasrul Sami : Universitas Negeri PadangZubaidah : Universitas Negeri PadangAriusmedi : Universitas Negeri PadangMaltha Kharisma : Universitas Negeri Padang References:Khairuzzaky, K. (2018). Kajian Struktur Ragam Hias Ukiran Tradisional Minangkabau Pada Istano Basa Paguruyung. Jurnal Titik Imaji, 1(1), 54-67.Prasetya, L. E., & Adi, S. M. (2011). Makna dan Filosofi Ragam Hias Pada Rumah Tradisional Minangkabau di Nagari Pariangan Tanah Datar. In Seminar Nasional “Kearifan Lokal Dalam Keberagaman Untuk Pembangunan Indonesia (pp. 59-70).
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Jiamrungsan, Supamas. "The Ancient Technique of Weaving with the Contemporary Art." International Journal of Creative and Arts Studies 4, no. 1 (June 1, 2017): 13. http://dx.doi.org/10.24821/ijcas.v4i1.1951.
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This study is a qualitative research method. The purposes are firstly to trial production of Pha Yok Dok which is one of the local handicrafts, found in the north-eastern part of Thailand. It is the guidelines for handling core issues of the creation and must start from studying motif of design, focus on techniques the golden fabric is located at weaving with gold threads, called Yok Thong. Secondly, to improve the pattern of contemporary fabric are the synthesis of Yok Dok texti le design in making fabric. It is a complex process which requires highly skilled weavers. In researcher’s point of view, for weaving of each fabric-depending on the design and used for similar was weaving 1500 shaft/Ta-kor. Thirdly to invent textile art inspiration from Yok Dok textile design to create new works of art. The results showed that the fabric weave of the operation weave structure on motifs of Yok Dok textile design. This is an outstanding special technique. The contemporary new fabric pattern can be operated by opening and closing of the warp yarn on a draw frame. The new pattern design and process of Yok Dok textile design by fabric weave selection. It is a supplementary weft technique that is the process a nd design which is the first method of fabric craft practice use for the manual textile art inspiration from Yok Dok textile design to those who is the weaver. Textile weaving process by adding a special fabric pattern these characteristics come from the roots and identity of steps and methods of natural fabric cultivation. It is completed by delicate skill of weaving alternatives for creating a product and to serve as a guideline for further research. This handicraft highlights the significance continuation and bridge the relationship between classic fabric contemporary. Art to humanity from the ancient world until the present day. In summary the researchers plan to design and c ontemporary Yok Dok, a synthesis between classical the golden fabric of the Royal cord of Rattanakosin period and the contemporary Thai litterateur work which telling design.
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Chen, Hanqi, Yonghua Han, Jingang Li, Jia Bao, Chenxu Ma, and Ziang Sun. "An objective fabric pilling evaluation based on wavelet transform and Gabor filter." Journal of Engineered Fibers and Fabrics 17 (January 2022): 155892502211087. http://dx.doi.org/10.1177/15589250221108728.
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A new objective fabric pilling detection method is proposed for monochrome fabric without pattern. Firstly, through wavelet multi-resolution decomposition and reconstruction, remove the high-frequency noise such as fluff which is significantly different from the size of pills and low-frequency noise such as uneven illumination. After wavelet multi-resolution decomposition of fabric image, through analyzing the energy change law between each wavelet decomposition layer, and then the fabric is judged whether it is rough or fine texture. Then, according to the different color characteristics of fine texture and rough texture fabrics, the even symmetry two-dimensional Gabor filter with smoothing effect and the odd symmetry two-dimensional Gabor filter with edge extraction ability in different directions are selected for texture removal. Finally, fabric pilling parameters are extracted to realize fabric pilling grade evaluation. The main contribution of this method is: on the premise of removing the noise such as uneven illumination and fluff, on the basis of considering the different color change laws of fine texture and rough texture, using the directionality of fabric texture and the randomness of pills direction to effectively remove the texture noise, so as to improve the accuracy of fabric pilling grade evaluation.