Academic literature on the topic 'Japanese Small art works'
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Journal articles on the topic "Japanese Small art works"
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Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.
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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).
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Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.
Full textAbstract:
Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).
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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.
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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.
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Nguyen Thi Thanh, Nga. "A SURVEY ON THE RESEARCH OF TRADITIONAL CULTURAL SYMBOLS APPEARED IN THE Y.KAWABATA NOVELS IN VIETNAM." Journal of Science Social Science 65, no. 11 (November 2020): 54–63. http://dx.doi.org/10.18173/2354-1067.2020-0071.
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Kawabata is one of Japan’s leading writers. Kawabata’s works are a place to preserve and preserve old traditional values becoming a miraculous bridge to bring Japan across the ocean to the whole world, and to bring the world to the land of beautiful cherry blossoms. Therefore, his works have been the object of many large and small research projects domestically and internationally. Within the scope of the article, we have conducted surveys of works and articles on traditional cultural symbols in Kawabata’s novels under the following angles: Biography, Poetry, Psychoanalysis and Culture, thereby, affirming the talent and the unique art style of Kawabata. Beauty is at the heart of culture and art in Japan so Kawabata’s writing point of view also focused on the ultimate beauty including its expression and the way in which it is expressed.
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Cynarski, Wojciech J. "Panorámica sobre las artes marciales polacas." Revista de Artes Marciales Asiáticas 3, no. 3 (July 19, 2012): 8. http://dx.doi.org/10.18002/rama.v3i3.373.
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<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ansi-language: EN-US;" lang="EN-US"><span style="font-size: small;"><span style="font-family: Calibri;">The purpose of this study is to explain the revival of Polish martial arts from the perspectives of cultural sociology, the sciences of physical culture, and the humanistic theory of martial arts. The Polish Martial Arts (<em>Polskie Sztuki Walki</em>) are a subject still requiring serious scientific examination, even in Poland. There are few works concerning the history of Polish weapons, and most only describe techniques for wielding specific types of edged weapons. Nevertheless, there is a large group of enthusiasts trying to restore and cultivate the old Polish tradition, a tradition with heavy emphasis on the art of fencing. The author knows many of the people and facts presented here, from personal observation and from direct participation in these arts. As a disciple of the late Master Yoshio Sugino (10th-dan Kobudo Katori Shinto-ryu), he fought against the Polish saber champion, and he has taken part in joint exhibitions of Polish and Japanese fencing.</span></span></span></p>
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Nakashima, Masumi, and David A. Ziebart. "Did Japanese-SOX have an impact on earnings management and earnings quality?" Managerial Auditing Journal 30, no. 4/5 (May 5, 2015): 482–510. http://dx.doi.org/10.1108/maj-06-2013-0890.
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Purpose – The purpose of this paper is to investigate whether Japanese Sarbanes – Oxley Act (J-SOX) impacted earnings management and earnings quality of public firms in Japan. Design/methodology/approach – This archival study compares earnings management and earnings quality of firms that disclose at least one material weakness with a sample matched on size and industry without a material weakness. Findings – The authors investigate whether the differences in regulations, corporate governance and regulatory environment acceptance influence earnings management and earnings management of Japanese listed firms, relative to findings in the USA. They found the Japanese results to be slightly different from the results found in previous USA studies. First, the time-series observations suggest that while accruals management and real earnings management remained unchanged for control firms, accruals management and real earnings management increased for material weaknesses disclosing firms following J-SOX. The regression analyses suggest that accruals management for both the groups is significant in the pre-and post-J-SOX periods, but that real earnings management declined for both the groups post-J-SOX. Second, while, both accruals quality and accuracy of cash flow predictions improved in the post-J-SOX period. Research limitations/implications – The sample of Japanese firms disclosing a material weakness is small because the number of firms that disclose internal control deficiencies is decreasing in Japan. The authors have no evidence that their results are not generalizable to a larger sample and leave this for future research. Practical implications – The authors provide evidence that J-SOX, which does not have a direct reporting system, does not constrain earnings management. Their results drive the regulator to reconsider whether the reporting system works in the Japanese business environment. Additionally, their results show that J-SOX has no effect on earnings management; thus, regulators need to reconsider the governance function of directors and internal auditors. This paper communicates to the world how J-SOX works in Japan through changes in earnings quality and management post J-SOX and the root problems. Originality/value – This paper is the first (of which the authors are aware) to examine whether J-SOX impacted both earnings management and earnings quality in Japan. This paper discusses how the differences in regulations and corporate governance as well as the differences between USA-SOX and J-SOX may explain the results observed in Japan. This paper provides results regarding whether J-SOX improved earnings quality.
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汪一舟, 汪一舟. "美人移動，江南到江戶：狩野探幽對中國仕女圖的傳移模寫." 中正漢學研究 37, no. 37 (June 2021): 075–114. http://dx.doi.org/10.53106/2306036020210600370003.
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<p>明代中國繪畫傳至日本，成為江戶時代重要的創作素材。江戶早期狩野派畫家狩野探幽經多年蒐集和摹寫，繪製了大量以中國古畫為主的縮小摹本，稱作「探幽縮圖」。用於繪畫素材、鑑定筆記及門派傳承等，影響深遠。中國女性是其中重要題材。基於皆川三知關於「縮圖」中多於107幅「唐美人」圖的統計，本文從中日跨文化角度探討「縮圖」中國仕女圖的摹寫方法、來源和運用，並試論日本江戶時代對中國女性題材繪畫及其作偽的受容。發現「縮圖」多擅仕女畫的明代蘇州「吳門」畫家唐寅、仇英款，也有不長於仕女題材的江南名家如元代趙孟頫、趙雍，指出「蘇州片」為其重要來源。再以耕織圖、西王母圖為案例，探討了跨文化背景下中國女性圖像雜糅及重新詮釋問題。</p> <p> </p><p>"During the Ming dynasty, Chinese paintings were transmitted to Japan and became an essential visual source for Japanese paintings of the Edo period (1615-1867). Kanō Tan’yū (1602-1674), a leading artist of the early Edo Kanō School, spent his lifetime copying numerous earlier Chinese paintings, as well as some Japanese and Korean works. He left thousands of small-sized sketches, called Tan’yū Shukuzu [Tan’yū’s Small Sketches], leaving a lasting impact on the Japanese painting realm. They were made for multiple purposes, as painting models, authentication notes, teaching materials, and a symbol of a painter’s status. Sanko Minagawa’s research survey indicates the existence of more than 107 sketches of Chinese female images, as one of the major subjects, in Tan’yū Shukuzu. </p> <p> This paper focuses on Tan’yū’s copies of Chinese female-figure paintings (often called tobijinzu, “pictures of Chinese beauties,” in Japanese) that were largely overlapped with while beyond the scope of the shinü tu or meiren hua genre (paintings of beautiful ladies) in Chinese art. It discusses the reproduction mechanism of Shukuzu in comparison with the Chinese fenben practice. It also examines the attributed Chinese artists’ signatures copied by Tan’yū in Shukuzu, e.g., Qiu Ying and Tang Yin (famed for beautiful women paintings), Zhao Mengfu and Zhao Yong (no extant authentic female-figure paintings), and it identifies the late Ming Suzhou Pian workshop as an important original Chinese source. It provides a fresh angle to approach the perception of Chinese “forgery” paintings and the long-term use of Shukuzu in re-making and reinterpreting Chinese paintings in Edo Japan from the seventeenth to the nineteenth century. Through two case studies from a transcultural perspective, it shows the combination of two Chinese pictorial systems, gengzhi tu (Pictures of Tilling and Weaving) and shinü tu, in a Kanō School scroll; and the transformation of the Queen Mother of the West, from a powerful female Daoist immortal signified by peaches of immortality to a secularized beautiful lady holding peach blossoms, in Kanō School paintings. </p> <p> </p>
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NASIR, Suraya Binti Md. "Understanding Manga as a “Style” through Essay Manga’s Multimodal Literacies：And Its Relations to the Discourse on “local art style” in Malaysian Comics." Border Crossings: The Journal of Japanese-Language Literature Studies 13, no. 1 (December 30, 2021): 61–74. http://dx.doi.org/10.22628/bcjjl.2021.13.1.61.
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The trans-cultural consumption of Japanese Manga in Malaysia has prompted a significant amount of manga-influenced local works. As an outcome, traces of Japanese Manga can be found through its iconic art styles, storytelling and Japanese culture in these works. While fans show the positive response for these manga-influenced local works, the artists’ community shows the opposite response, in particular, related to the representation of the “typical Japanese manga-style”, resulting in the idea that these artists are turning away from the “local art style” which has been pioneered by the predecessors. The sentiment of Japanese Manga as a “single art style” contributed to this misconception on what constitutes a Japanese manga identity. In which the researcher proposes the introduction of ‘Essay Manga’ (コミックエッセイ or エッセイマンガ) as a way to divert the attention of Japanese Manga’s art style, by shifting to the other attributes of Japanese Manga which is the story. Essay Manga is a manga work that describes the events that happened around the manga artist but without any specifications towards manga visual conventions. To illustrate the importance of story versus art style in Essay Manga, the characteristics, forms, examples are sketched out trough the works of Hosokawa Tenten and Azuma Hideo. A section on Malaysia “local art style” is also discussed and ties in with the discussion of Manga. Eventually, the study argues that Japanese Manga is not limited to visual representation; instead, it is accommodated by its engaging storytelling, thus justifying Essay Manga’s potential as a multimodal literacy works.
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Hiraki, Takato, Akitoshi Ito, Darius A. Spieth, and Naoya Takezawa. "How Did Japanese Investments Influence International Art Prices?" Journal of Financial and Quantitative Analysis 44, no. 6 (October 8, 2009): 1489–514. http://dx.doi.org/10.1017/s0022109009990366.
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AbstractWe test the luxury consumption hypothesis of Ait-Sahalia, Parker, and Yogo (2004), using a unique international art price, import/export flow, and stock market data set. We find that the demand for art by Japanese collectors is positively correlated with art prices and Japanese stock prices. This correlation is magnified during the “bubble period” of the Japanese economy (the mid-1980s to the early 1990s) and gains even further strength for works of art typically favored by Japanese collectors. Our results suggest that Japanese investors (or Japanese asset markets) indeed affect international art prices—especially during the bubble period and its aftermath.
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Titareva, Diana Stanislavovna. "The influence of Ukiyo-e on the artistic language of easel graphics of A. P. Ostroumova-Lebedeva in the 1900s-1920s (on the example of St. Petersburg collection of woodblock prints)." Культура и искусство, no. 3 (March 2021): 47–57. http://dx.doi.org/10.7256/2454-0625.2021.3.32778.
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The article reviews and analyzes the key easel graphic works by A. P. Ostroumova-Lebedeva from St. Petersburg collection of woodblock prints, created over the period from 1900s to 1920s. These works resemble the genre of Japanese art Ukiyo-e. The subject of this research is the uniqueness of the artistic language and the means of its expression in the works of A. P. Ostroumova-Lebedeva. Alongside other Russian artists of the turn of the XIX – XX centuries she was affected by Ukiyo-e, but perceived the Japanese wood engraving on a more profound level. The author examines the works of accomplished in this period, as well draws parallels with the woodblock prints of Japanese masters, using the formal-stylistic method. This approach is relevant as it reveals the role Japanese woodblock prints played in the establishment of artistic language of A. P. Ostroumova-Lebedeva. Within the Russian art history, this research is one of the few attempts of conducting comparative analysis between the woodblock prints of A. P. Ostroumova-Lebedeva and the works of Japanese masters, which defines the scientific novelty. The conclusion is made that the influence of Ukiyo-e can be traced in the compositional solution and in use of particular Japanese motifs in her works. The artist also contributed to the establishment of woodblock prints as an independent genre of graphic art, having enriched it with the images and color introduced by the Japanese masters.
Dissertations / Theses on the topic "Japanese Small art works"
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Clark, W. Andrew, Cher L. Cornett, and Peter M. Hriso. "Linking Art to Science: Digital Media as a Technology Translation Tool." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etsu-works/2524.
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Technology translation can be achieved through the blending of the sciences and arts in the form of digital imagery. Digital animation and video can be utilized to portray molecular events where the mechanism of action is known but the process occurs at a sub-microscopic level. There needs to be a strong collaboration between scientific advisors and digital artists when creating the animation such that the artistic interpretation of the molecular event conforms to the known and accepted confines of science. The finished animation may be used for information, education or persuasion as entrepreneurial biotechnical companies attempt to find markets, customers and investors interested in their inventions. Educational institutions with programs in the sciences, arts, digital media and medicine need to promote the interaction of students from these disciplines through cross-functional teams and courses. Solutions to problems developed by these teams tend to be broader and more comprehensive than more homogeneous teams.
Books on the topic "Japanese Small art works"
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Bossan, Enrico. Ainu: Contemporary Japanese artists. [Crocetta del Montello]: Antiga edizioni, 2018.
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Toriyama, Rei. Sakuhinshū: Art works. Tōkyō: Kabushiki Kaisha Kyūryūdō, 2004.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Gallery, Sligo Art. Íontas: Sixth small works art exhibition. Sligo: Sligo Art Gallery, 1995.
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Gallery, Sligo Art. Íontas: Second small works art exhibition. Sligo: Sligo Art Gallery, 1991.
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Gallery, Sligo Art. Íontas: Eigth small works art exhibition. Sligo: Sligo Art Gallery, 1997.
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Romanow, Joanna Kleinberg. Small. New York: Drawing Center, 2014.
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Sotheby's (Firm). Japanese and Korean works of art. London: Sotheby's, 2004.
Find full textBook chapters on the topic "Japanese Small art works"
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Mehl, Margaret. "11. The World in Sendai." In Music and the Making of Modern Japan, 345–86. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0374.11.
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Chapter 11, ‘The World in Sendai’ investigates the types of ‘Western music’ that were actually performed in concerts in Sendai. This is the main theme of. Based on the programmes of local concerts between 1907 and 1921 published in the magazine Ongakukai (World of music), this chapter shows how local concerts, in which different groups came together to perform an eclectic repertoire to a mixed audience, helped transform the people of Sendai into members of a nation within a wider world of nations. The modern institution of the public concert represented a space where Japanese and foreigners met and played and listened to music that was being performed and heard worldwide. The repertoire included a wide range of genres and countries of origin. Together, this variety, and the locations, scenes, and stories evoked by the pieces reveal much that is obscured by the blanket term, ‘Western music’. Works from the narrow canon of the ‘great masters’ of European art music, in fact, represented only a small fraction of what was performed. For example, the programme of a concert in Sendai in February 1916 included the ‘Tipperary Song’, sung by a Japanese high school student. Published in 1912 and first recorded in 1914, the song evokes to this day the image of British Soldiers marching in the First World War. In fact, three months after the Sendai concert, in the naval battle of Jutland, 26 survivors of the wreck of the Tipperary were reportedly recognized and rescued, when they sang, ‘It’s a long, way...’ It is hard to beat this conjunction as an illustration of music’s power as a force of global integration.
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Nakagawa, Masayuki. "The Efficiency of the Titling System: Perspectives of Economics." In New Frontiers in Regional Science: Asian Perspectives, 21–30. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-8848-8_3.
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AbstractThe problem of land with unknown ownership is becoming increasingly evident with Japan’s declining population, low birth rate and aging population. This paper examines the need for the titling system using perspectives from economics and considers what sorts of titling system works for which types of society and looks at ways to deal with the problem of land with unknown ownership. A series of previous researches such as Miceli et al. (Eur J Law Econ 6:305–323, 1998; J Urban Econ 47:370–389, 2000) categorize the titling systems used in many advanced countries as either registration systems or recording systems. In terms of broad categorization Japan’s titling system is categorized as a recording system. However, since the details of registered information are confirmed through various registration procedures, the system also has aspects that resemble a registration system. This can be interpreted as having selected the titling system’s strength that considerably lowers the level of litigation risk. In that case, transaction costs become very high. This could be the cause of the excessively small current level of Japanese real estate transactions. Furthermore, the result of selecting the recording system in Japan, which is a system with a very high strength, could explain why nobody takes insurance to cover the risk of title litigation. In Japan, it is highly likely that the full-fledged population decline, low birth rate and aging population will lower the profitability of land. In that case, a titling system with low strength is likely to be the best for society as indicated in the analysis above.
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Plasa, Carl. "Icon -versations: F. Douglas Brown, Jacob Lawrence and Frederick Douglass." In Literature, Art and Slavery, 166–207. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9780748683543.003.0007.
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Like its predecessor, this chapter is exclusively devoted to African American ekphrasis and American slavery, taking F. Douglas Brown’s Icon (2018) as its field of inquiry. This small-press collection is notable for the culturally diverse mix of poetic genres it deploys (Kundiman, Golden Shovel, erasure, ghazal and of course ekphrasis, inter alia); its use of the Japanese presentational mode of PechaKucha; and its eclectic play of allusion, which runs a dizzying gamut from the Annunciation pictures of the Italian Renaissance to comic-book superheroes and from popular African American dance-styles to the film musicals of the 1950s. In thematic terms, Icon is partly concerned with contemporary African American experience, encompassing topics as heterogeneous as the transgenerational dynamics of Brown’s own family relationships and the violent deaths of African Americans either in or as a consequence of police custody. Its overriding orientation, however, is not towards images produced from a white American perspective (as featured in Chapter Five) but the work of the African American painter Jacob Lawrence and specifically, his Frederick Douglass series of 1938-9, created when Lawrence was between twenty-one and twenty-two years of age and it is this conversation between Brown and Lawrence that is at the chapter’s heart.
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Shaw, Michael. "The Belgian Revival and Japonisme in Scotland." In The Fin-de-Siècle Scottish Revival, 88–142. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474433952.003.0003.
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Fin-de-Siècle Scotland is frequently associated with the ‘kailyard’ movement and, by extension, with small towns, insularity and sentimentality. Using Scottish writers and artists’ thorough engagement with Belgian and Japanese culture as case studies, this chapter reveals how deeply international and cross-cultural Scottish writing and art was in the late-Victorian period. I argue that Scottish cultural revivalists looked to these two nations to help them build counter-hegemonic connections that allowed them to defend the value of smaller nations and traditional cultures. Part of the reason some cultural revivalists looked to Japan and Belgium specifically was that these nations’ artists offered examples of how cultural revivalist work could fuse with modernity, rather than simply reject it. I focus on examining William Sharp’s self-conscious attempts to bring the decadent energy of La Jeune Belgique into Scotland to help resist metro-centric thinking, before illustrating the marked impact of Maurice Maeterlinck on Charles Rennie Mackintosh and Margaret Macdonald. The Glasgow School played a key role nourishing Scotland’s Japanese connection, and we often find japonisme fusing with Scottish forms in their work.
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Cutcher-Gershenfeld, Joel, Michio Nitta, Betty J. Barrett, Nejib Belhedi, Simon Soi-Chung Chow, Takashi Inaba, lwao lshino, et al. "Initial Visits to Japanese Factories." In Knowledge-Driven Work, 18–35. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195114546.003.0002.
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Abstract The production floor layout and the quality of environment in which people work is often taken for granted. Many Americans work in factories that are dirty, dangerous, noisy, cluttered, and oppressive. While people may not like these conditions, they do not usually see themselves as having the opportunity or the need to change their circumstances. Many people just focus on the small area of floor space in which they work and see the other physical aspects of their workplace as the responsibility of maintenance, engineering, custodians, or others.
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Marinucci, Lorenzo. "Different Smellscapes: Olfactory Patterns Through the Japanese Worldview." In SMELL, 117–70. University of Westminster Press, 2023. http://dx.doi.org/10.16997/book68.e.
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The chapter offers a short review of the methodological and ideological problems of approaching olfaction from a philosophical point of view, before discussing Japanese olfactory culture in particular. Three particular smellscapes are explored in depth: the scent-related refinement of the Heian court, the symbolic deployment of scent-connection in Edo period haikai, and the peculiar intercultural role played by scents in the work of 20th century philosopher Kuki Shūzō.
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Philbrick, Ethan. "Introduction." In Group Works, 1–24. Fordham University Press, 2023. http://dx.doi.org/10.5422/fordham/9781531502690.003.0101.
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In the introduction, Philbrick sets up the conceptual and historical terrain of the book by offering three short essays on the group tuned to three different registers—group theory, group politics, and group art—before turning to archival traces of one visionary small group from the 1970s, the Combahee River Collective, and the resonance of their work in Cauleen Smith’s 2018 film Sojourner.
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Wada-Marciano, Mitsuyo. "The Power of Art in the Post-3/11 World." In Japanese Filmmakers in the Wake of Fukushima. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463728287_ch06.
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The final chapter examines not documentary cinema but rather contemporary art in Japan. Why should a cinema scholar contemplate contemporary art? The answer can be found in the many things artists and filmmakers had in common as they struggled to deal with Fukushima and grappled with where they should stand. Many works of contemporary artists are like doppelgangers—other selves—of filmmakers. Can the characteristics of the post-3/11 era drawn from analyses of films be applied to “culture” in general? Namely, focusing on Chim↑Pom, who continues to lead the radical movement in Japanese contemporary art, I also analyze the works of Yanobe Kenji, Murakami Takashi, Tsuboi Akira, Fukuda Miran, Akagi Shuji, and turn my ear to their “warnings.”
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Atkins, B. T. S. "Theoretical Lexicography and its Relation to Dictionary-making." In Practical Lexicography, 31–50. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199292332.003.0003.
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Abstract Does theoretical lexicography exist? If this forum is to discuss its nature, we must at least grant it the benefit of the doubt, although its counterpart, practical lexicography, has a tautological ring to it. I propose here to interpret the term theoretical lexicography in the very general sense of “a body of theory related to lexicography,” and, drawing inspiration from the title of Landau (1984), to define lexicography as “the art and craft of dictionary-making.” A more traditional definition of this latter term is to be found in the 1990 Concise Oxford Dictionary (COD): “the compiling of dictionaries.” That plural form is very important. Abstract terms like lexicography and generic concepts like the dictionary form a smoke screen between theoretical discussions and the real, hard world of dictionary-making. What I have to say here concerns making dictionaries, not making “the dictionary.” Dictionaries may be considered from the point of view of form or of content, and both are relevant to this discussion. First, form: a dictionary (to quote the COD again) is “a book that lists … and explains the words of a language …” Much is written nowadays in artificial intelligence circles about electronic dictionaries, but almost the whole of dictionary production still consists of books—and I know no publisher who sees an imminent profitable market for custom-built electronic dictionaries. The electronic dictionaries that exist today all started life as books, with the tiny exception of lexicons built expressly for a computer. To my knowledge, apart from the Japanese EDR Electronic Dictionaries, none of these is even as big as a small pocket dictionary. Books are the focus of professional lexicography, and the dictionaries discussed, reviewed, praised, or criticized are books. Theoretical lexicography must be relevant to books.
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Harold, James. "Wicked Artists." In Dangerous Art, 51–69. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197519769.003.0004.
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This chapter takes up the problem of immoral artists, as well as related questions, like immoral production. When an artist commits great crimes, some are tempted to treat the art itself as though it were also tainted. The question is whether this is the right thing to do. This chapter argues that the question can be approached in two ways. First, the chapter considers the possibility that works by bad artists are in themselves morally bad. It argues that this view is plausible in only a small number of cases. Second, the chapter considers the possibility that communities around bad artists are tainted by the artist’s bad actions. It defends this view against objections. The primary conclusion is that we should not, for the most part, think of works themselves as being moral or immoral because their creators are.
Conference papers on the topic "Japanese Small art works"
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Shiraki, Keisuke, Akira Taniguchi, Takushi Fujino, Shouhei Nakama, Osamu Suzuki, and Hiroyuki Kobayashi. "Experience of Work for Replacing Reactor Recirculation Piping in Narrow Space of MARK-I Containment Vessel." In ASME 2014 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/pvp2014-28367.
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Tsuruga unit-1, the first Japanese commercial BWR (BWR-II, 357MWe) started its operation in 1970, has a Mark-I type containment vessel and 3-loop reactor recirculation piping. In the 33rd planned outage of 2011, most parts of the reactor recirculation piping were replaced to improve corrosion resistance and inspectability. This replacement work dealing with long pipe pieces had to be conducted in limiting condition and severe environment such as the narrow work space, only one small entrance hatch, and high dose rate. In addition, other maintenance works by four contractors were concurrently being carried out in the same area. Therefore, these work processes in the containment vessel were controlled carefully through close coordination with contractors and using advanced construction technique. As a result, it was achieved that efficient process which contributed to shortening work period and injury-free work in this challenging environment and condition. Regarding radiation management, radiation dose rate was reduced substantially by applying chemical decontamination using ozone as chemical agent. Experience obtained from this work is valuable in the current situation that many operators are trying to operate their aging nuclear plants continuously as long as economically viable.
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Beris, Yeter, and İsmail Erim Gulacti. "Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p69.
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Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.
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Machida, Hideo. "Validity of Successive Inspections to the Piping With Multiple Circumferential Stress Corrosion Cracks." In ASME 2009 Pressure Vessels and Piping Conference. ASMEDC, 2009. http://dx.doi.org/10.1115/pvp2009-77186.
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This paper describes the validity of successive inspections in a chain of the integrity assessment applying Fitness-For-Service (FFS) Codes to piping with stress corrosion cracks. Integrity assessment of primary recirculation system (PLR) piping with stress corrosion cracks is one of the recent interests in Japanese boiling water reactor (BWR) plants. Girth weld joints with detected stress corrosion cracks are required to secure the integrity during subsequent 5 years operation and to conduct three times of successive inspections for PLR piping. If the safety factor included in FFS Codes works effectively, this, like frequent successive inspections are deemed unnecessary. However, since there is some uncertainty in the measurement of crack size and in crack growth estimation in the integrity assessment of piping with stress corrosion cracks, a possibility of failure cannot be denied when not conducting successive inspections to confirm the validity of the integrity assessment. In this study, piping failure probability when conducting and not conducting successive inspections using a probabilistic fracture mechanics (PFM) code, and the validity of successive inspections were examined quantitatively from the failure probabilities. The effect of crack sizing accuracy, which has great influence on the validity of inspections, was also examined. The validity of successive inspections was examined for 12, 16, and 24 inch pipes which were employed in PLR piping of BWR-5. It became clear that successive inspections were very effective in decreasing failure in 12 and 24 inch pipes, but not as effective in decreasing failure in 16 inch pipes. The reason is suggested that the crack growth rate in a 16 inch pipe is high compared with the other two sized pipes and opportunity of renewal of crack growth estimation at successive inspections is few. When successive inspections are carried out, there are several times of opportunity for improvement of underestimated crack growth behavior unless a crack size is measured smaller than the actual size in all successive inspections. Consequently, the influence of the crack sizing error on failure probability of pipes becomes very small.
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Sasaki, Hiroshi, Kenji Watanabe, and Ichiro Koshijima. "Development of Approach for Improving Cybersecurity Governance for Factory systems." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004781.
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As the digitization of factory systems progresses with mutual digital connections among them, cybersecurity risks throughout the supply chain also increase. In fact, there have been many cyber incidents where factories have stopped due to damage from ransomware. For large companies, it is possible to secure the budget and personnel for cybersecurity, including outsourcing. However, almost all small and mediums enterprises (SMEs) are facing with the difficulties to secure them.In this paper, we focus on how to improve governance for factory systems because our previous research revealed that it is the most critical challenge for SMEs to reduce cybersecurity risk of factory systems.In previous works, we developed an easier risk assessment tool consisting only 32 requirements based on Japanese government guidelines for factory systems. As a web tool survey result from 225 factory sites, more than 80% of SMBs found it inadequate to mitigate cybersecurity risks. We categorized the cybersecurity risks into the four factors which are “People”, “Process”, “Technology” and supply chain management of assets in the factory automation system (FA SCM). Some common results derived from the follow-up interviews show “People” factor consisting of governance and awareness is the root obstacle of the insufficient measures. So, we decided to clarify how to improve “People” factor for SMEs.To achieve it, we need to overcome two common challenges from our interview’s analysis below:- No risk assessment in the factory systems for common understanding the risk posture among the stakeholders (Executives, IT people, factory people)- No governance organization structureUsually, they installed some measures along the existing guidelines without considering. It causes that they become a mere shell. Our approach improves the failure.To consider the first challenge for SMEs, we developed the easy risk assessment workshop for factory people inspired by “Consequence-driven, Cyber-informed, Engineering” by Idaho National Lab which is originally developed for the engineering of critical infrastructure systems, because it has very simple concept for starting from the impact of the most undesirable events such as explosion, loss of quality control and production outage which can be easily understood by SMEs with insufficient cybersecurity knowledge. We conducted the workshop for people from some factory sites and succeeded to clarify the business risks in the factory systems.The second challenge is also important for “People” factor because SMEs need to build the management system for mitigating the risks derived from the workshop continuously.We applied the COBIT5 governance framework for enterprise IT to the management system for factory systems. The beauty of COBIT5 is the separation of governance and management. We used the concept for factory systems and determined a reference architecture of organization arranged to the roles in the normal and emergency state.In conclusion, we developed the effective approach improving governance for factory systems for SMEs. Our tools will be available in GitHub soon after the paper published.We plan to continue to consider how SMEs improve their cybersecurity readiness along the 32 items of Japanese guidelines.
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Ziviani, Hugo Eduardo, Guillermo Cámara Chávez, and Mateus Coelho Silva. "Applying a Conditional GAN for Bone Suppression in Chest Radiography Images." In Seminário Integrado de Software e Hardware. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/semish.2022.222540.
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Bone suppression in radiography is a suitable technique to evaluate the health of soft tissues in exams. For instance, these techniques are essential in evaluating chest radiography images during the COVID-19 outbreak. The purpose of this work is to propose an alternative to solve the bone suppression task in chest radiography images using Generative Adversarial Networks (GANs). Specifically, we used a conditional GAN type (cGAN) to provide a bone-suppressed version of the initial image. To quantify the results, it was necessary to review the main metrics and some state-of-the-art papers related to ours. We compared our result to works from the literature that used the same dataset as the proposal or related techniques. The most used dataset was the Japanese Society of Radiological Technology (JSRT) in these works. With this set of images, we reached a PSNR index of 34.96, which was better than that reviewed in the literature, and a similarity coefficient, known as SSIM, of 0.94. As for the loss calculated by MS-SSIM, we obtained the lowest compared to the reviewed works.
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Fujarra, André L. C., Guilherme F. Rosetti, Jaap de Wilde, and Rodolfo T. Gonçalves. "State-of-Art on Vortex-Induced Motion: A Comprehensive Survey After More Than One Decade of Experimental Investigation." In ASME 2012 31st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/omae2012-83561.
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After one decade of experimental investigation, the Vortex-Induced Motion – VIM phenomenon deserves a comprehensive survey concerning the advances related to its understanding, mainly under the consideration of the fundamental aspects that keep it in a close relationship to the dynamic behavior of the same phenomenon acting on slender bodies, the well known Vortex-Induced Vibration – VIV. A considerable amount of results can be found in the literature, although there are few works dealing with a general view of the problem. Probably, the main reason for such a large amount of works with no interaction between themselves and, consequently, without a common understanding about VIM might be due to its technological origin, featured by huge platforms with a variety of geometrical details, which ends up placing the researches more on the field of the faithful reproduction of the features in small-scale and less on the global understanding of the phenomenology regardless the floating system, e.g. a spar platform, a monocolumn or even a semi-submersible or a tension-leg platform. Obviously, no one should disagree that there is part of the research that must keep a faithful relationship with the full scale, however, in most of them it is possible to identify the common fundamentals concerning the fluid-structural interaction. The aim of the present work is to address a comprehensive evaluation of the experimental investigations during the past decade on the VIM, trying to gather a general understanding about its phenomenology including some comparisons to VIV. As a result, some relevant aspects are pointed out for a more prospective way of research.
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Themelis, Nickolas J. "Current Status of Global WTE." In 20th Annual North American Waste-to-Energy Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/nawtec20-7061.
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This paper is based on data compiled in the course of developing, for InterAmerican Development Bank (IDB), a WTE Guidebook for managers and policymakers in the Latin America and Caribbean region. As part of this work, a list was compiled of nearly all plants in the world that thermally treat nearly 200 million tons of municipal solid wastes (MSW) and produce electricity and heat. An estimated 200 WTE facilities were built, during the first decade of the 21st century, mostly in Europe and Asia. The great majority of these plants use the grate combustion of as-received MSW and produce electricity. The dominance of the grate combustion technology is apparently due to simplicity of operation, high plant availability (>90%), and facility for training personnel at existing plants. Novel gasification processes have been implemented mostly in Japan but a compilation of all Japanese WTE facilities showed that 84% of Japan’s MSW is treated in grate combustion plants. Several small-scale WTE plants (<5 tons/hour) are operating in Europe and Japan and are based both on grate combustion and in implementing WTE projects. This paper is based on the sections of the WTE Guidebook that discuss the current use of WTE technology around the world. Since the beginning of history, humans have generated solid wastes and disposed them in makeshift waste dumps or set them on fire. After the industrial revolution, near the end of the 18th century, the amount of goods used and then discarded by people increased so much that it was necessary for cities to provide landfills and incinerators for disposing wastes. The management of urban, or municipal, solid wastes (MSW) became problematic since the middle of the 20th century when the consumption of goods, and the corresponding generation of MSW, increased by an order of magnitude. In response, the most advanced countries developed various means and technologies for dealing with solid wastes. These range from reducing wastes by designing products and packaging, to gasification technologies. Lists of several European plants are presented that co-combust medical wastes (average of 1.8% of the total feedstock) and wastewater plant residue (average of 2% of the feedstock).
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Dogan, Bilal, and Thomas Hyde. "Industrial Application of Small Punch Testing for In-Service Component Condition Assessment: An Overview." In ASME 2012 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/pvp2012-78691.
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The Sampling and Small Punch testing (SPT) is a powerful technique based on tests using miniaturized specimens machined out small sampled material of components in service. At present, it is the only existing method capable of providing experimental characterization of service exposed materials of components and materials of new built plants. Small sampling is non-invasive and SPT provides direct measured material properties. It provides a significant technology capability that facilitates assessing power plant operating equipment for structural integrity and operational condition. The new method provides utility members an attractive option to interrogate equipment for making run/inspect/repair/replace decisions. The SPT technique supported by assessment software, NDE and Metallography, used to define guidelines for components life assessment cross the power generation and petro-chemical sectors, serving both utilities, and constructors. It addresses the industrial need for personalized material and welds data required for a) lifing of plant; consumed life and residual life of components, b) convenience of repairing, replacing, life of the new welds on old components, c) cost of component deterioration, cost of normal service, d) characterizations and qualifications of blade repairs, of coating materials-methods. The first international SPT workshop was organized in June 27–28, 2011 in Nottingham, UK in order to discuss the state-of-the art SPT Creep and Fracture, and the draft CEN Cope of Practice (COP). The International SPT Experts Group serves as international forum for discussion and collaboration of industrial application of SPT methodology for in-service component life assessment. It is noted the draft CEN COP needs to be revised. Presently, European, Japanese and Indian national SPT project groups are running SPT tests and working on analysis programs. The present paper reports on a) the use of SPT in materials and component characterization, and b) drafted technical program by the international experts group to harmonize international efforts on SPT testing and analysis for efficiency and cost effectiveness. The draft program to bring the SPT methodology to standardization and develop an engineering component condition assessment tool for industrial application.
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Некрасова-Каратеева, О. Л., and Е. П. Сталинская. "AUTHOR’S SOUVENIRS BY CERAMIST VYACHESLAV SHVETSOV." In Образ, знак и символ сувенира. Материалы IX Всероссийской национальной научно-практической конференции. Crossref, 2023. http://dx.doi.org/10.54874/9785605054283_136.
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В статье представлены материалы о творчестве художника-керамиста В. А. Швецова — о создании авторских произведений в разряде минискульптуры, характеризующихся особой темой «Воспоминания» и реализуемых в качестве оригинальных сувениров. Целью статьи является попытка расширить содержательный аспект функции сувениров за счет уникальных художественных произведений небольшого формата, создаваемых и ориентированных на личные воспоминания и сопереживания многих людей. Темы авторских скульптурных мини-композиций В. Швецова: сельская природа (лес, река, радуга); деревенская тематика детства художника; темы материнства, любви («Двое»), Петербурга («Петербургские настроения», «Белые ночи»). Исполненные искренно, душевно, они вызывают у зрителей соучастие, приятные ассоциации и личные воспоминания. Исследование обладает новизной, т. к. материалы его оригинальны и предлагаются к публикации впервые, продолжая ряд представленных на предыдущих конференциях примеров авторских сувениров (2020 — «Авторская серия деревянных скульптурных композиций “арт-сувенир”»; 2021 — «Авторские новогодние картинки К. О. Почтенной как уникальные сувениры»; 2022 — «Ялтинский пейзаж как авторский видовой сувенир»). Результаты и методы исследования этой статьи могут быть полезны в искусствоведении для применения анализа конкретных явлений в культуре и искусстве, новых жанровых образований. The article presents materials about the work of the ceramist artist V. A. Shvetsov – about the creation of author’s works in the category of minisculpture, characterized by a special theme “Memories” and implemented as original souvenirs. The goal of the article is an attempt to expand the content aspect of the function of souvenirs due to the unique artistic works of small format, created and oriented to personal memories and empathy of many people. The themes of the author’s sculptural mini-compositions by V. Shvetsov: rural nature (forest, river, rainbow); village themes from the artist’s childhood; themes of motherhood, love (“Two”), Petersburg (“Petersburg moods”, “White Nights”). Performed sincerely, soulfully, the works evoke in the audience emotional response from the audience, as well as pleasant associations and personal memories. The study has a novelty as its materials are original and are offered for publication for the first time, continuing a number of examples of author’s souvenirs presented at previous conferences (2020 – “Author’s series of the Art Souvenir wooden sculpture compositions”; 2021 – “Author’s New Year pictures by K. O. Pochtennaya as unique souvenirs”; 2022 – “Yalta landscape as author’s souvenir with a view”). The results and methods of the study can be useful in art criticism for the analysis of specific phenomena in culture and art, as well as new genre formations.
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Sakata, Tomofumi, Keiichi Watanuki, and Kozawa Motohiro. "Influence of History of Art Learning on Understanding of Beauty and Ugliness in Painting." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003240.
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Japanese elementary school teachers can teach art classes to elementary school students without receiving any art education. For this reason, there are no common evaluation criteria for art classes, and teachers create their own evaluation criteria and assign grades. The teachers' own evaluation criteria often include their own interests, suggesting that the students may not be receiving a fair evaluation. It is possible that elementary school students dislike art classes due to unfair evaluation. A dislike of art from an early age can lead to a lack of imagination and creativity. In addition, we are becoming a mature society with a rapidly declining birthrate and an aging population, and it is expected that each individual, as the bearer of a sustainable society, will be nurtured to create new values that will lead to the growth of individuals and society with qualitative enrichment driven by the diversity of the individual. One of the changes in a mature society is the rapid evolution of artificial intelligence. It is claimed that artificial intelligence is starting to think and comprehend knowledge conceptually on its own, and it is predicted that this would significantly alter the nature of employment and the significance of knowledge acquired in schools. At the same time, this leads to a reaffirmation of the fact that no matter how much artificial intelligence evolves and becomes capable of thinking, it is the greatest strength of human beings to provide the purpose of thinking and to judge the goodness, correctness, and beauty of the purpose. School education is required to enable children to actively face various changes, solve problems in collaboration with others, discern various types of information, realize a conceptual understanding of knowledge, reconstruct information and connect it to new values, and reconstruct purposes in complex changing situations. It is also required to be able to reconstruct objectives in the face of complex changes in circumstances. Thus, art education is considered crucial, and it is important to understand what aspects of art are perceived as beautiful or ugly in the process of learning art. Therefore, the purpose of this study was to understand the differences in the sense of beauty and ugliness in paintings between students majoring in art and those who are the same age as the students and have no prior art study experience.We conducted an experiment using paintings from each period of Western art history as the paintings for judging the beauty and ugliness of a painting. By evaluating the beauty and ugliness of art paintings from each period, we selected a variety of paintings from simple to complicated for the purpose of judging the beauty and ugliness of the paintings. We also aimed to quantify the beauty/ugliness points that do not change depending on the age or the complexity of the painting.Fractal analysis was used for the analysis. A fractal is a similarity between the whole and a part of a figure. Fractals are often found in nature and in living organisms, and fractal structures can also be found in works of art. In particular, fractals are seen in the paintings of Abstract Expressionist painters, whether by accident or necessity. It has been reported that fractal dimension and art are closely related. In this study, we consider fractals in color tones as well as in structure.As a result, art majors were able to clearly point out the beauty and ugliness of complicated paintings. Students who did not study fine arts saw the whole complicated painting as beautiful, and were unable to point out clear beauty or ugliness points. For simple paintings with only one person, the art majors were able to point out the beauty and ugliness of the painting in more detail. Students who did not study art pointed out the beauty and ugliness of a simple painting in a large and general way. Fractal analysis showed that the beauty/ugliness points pointed out by the experts maintained a medium fractal dimension. The fractal dimension of the beauty/ugliness points pointed out by students who had not studied art maintained a high fractal dimension, indicating that they perceived beauty/ugliness in more complex areas.The above results indicate that as students learn more about art, they are able to understand the beauty and ugliness of a picture more intricately and perceive beauty and ugliness in areas with a medium fractal dimension.
Reports on the topic "Japanese Small art works"
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Nikkei-Latin American Artists of the 20th Century. Inter-American Development Bank, February 2005. http://dx.doi.org/10.18235/0008269.
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Presents the exhibition pays tribute to Japan and to more than a century of relations between Japan and Latin America. This paper presents selected art works "painting, drawing, engraving and installation" by 10 artists of Japanese descent from Argentina (Kasuya Sakai), Brazil (Tikashi Fukushima, Manabu Mabe, Tomie Ohtake, Yutaka Toyota and Kazuo Wakabayashi), Mexico (Luis Nishizawa) and Peru (Arturo Kubotta, Carlos Runcie Tanaka and Venancio Shinki).