Academic literature on the topic 'Painting strategy'
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Journal articles on the topic "Painting strategy"
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Jansen, Jeroen. "Strategic maneuvering as an epistolary strategy, anno 1610." Journal of Argumentation in Context 1, no. 3 (December 31, 2012): 267–90. http://dx.doi.org/10.1075/jaic.1.3.01jan.
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Around 1610 the Dutch author Gerbrand Bredero wrote a letter to his painting teacher Francesco Badens, asking for the loan of a painting to make a copy of it. The act of writing (a letter) asks for a proactive role in managing the reader(s)’ reactions. Although at first sight the letter may look like no more than a simple, insignificant and most of all polite piece of correspondence, it is argued that, from the viewpoint of strategic maneuvering, Bredero’s approach may be considered as a well-thought-out and potentially effective strategy, contributing to pinning Badens to a promise. An analysis from the perspective of argumentation theory allows us a better understanding of certain characteristics in this letter. Bredero’s choice from the ‘topical potential’ especially finds expression in proleptic formulated objections of the addressee to fulfilling his promise. Starting the letter from the seemingly low power situation of a pupil asking his master to do something, in every stage of the communication Bredero is aiming at a reasonable balance and turning this balance to his own advantage at the same time.
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Thein, Karel. "Gods and Painters: Philostratus the Elder, Stoic Phantasia and the Strategy of Describing." Ramus 31, no. 1-2 (2002): 136–45. http://dx.doi.org/10.1017/s0048671x00001417.
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I shall comment upon the way the elder Philostratus, author of Imagines, inscribes both the art of painting and his own interpretation of 65 particular paintings within a larger framework, which is composed of nature on the one hand, and the human perception of nature on the other. To get to this framework in a slightly oblique way, I will start with a brief reminder of Philostratus' often neglected classification of the arts.In his Life of Apollonius of Tyana 8.7, Philostratus takes notice of the established opposition between the mechanic and the liberal arts (τέχναι βάναυσοι and τέχναι σοϕαί), but then proceeds to further divide the liberal arts into three groups: some are simply σοϕαί (poetry, music, astronomy, the art of sophist and orator); others are only seemingly liberal, ψευδόσοϕοι (the art of wizards or jugglers); between these two groups are situated the ‘less liberal arts’ or ὑπόσοϕοι τέχναι, namely painting, plastic art, sculpture, navigation and agriculture.
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Yang, Zhaoxiang, Yonglin He, Shenglong Liao, Yingchao Ma, Xinglei Tao, and Yapei Wang. "Renatured hydrogel painting." Science Advances 7, no. 23 (June 2021): eabf9117. http://dx.doi.org/10.1126/sciadv.abf9117.
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Hydrogel coatings pave an avenue for improving the lubricity, biocompatibility, and flexibility of solid surfaces. From the viewpoint of practical applications, this work establishes a scalable method to firmly adhere hydrogel layers to diverse solid surfaces. The strategy, termed as renatured hydrogel painting (RHP), refers to adhering dehydrated xerogel to a surface with appropriate glues, followed by the formation of a hydrogel layer after rehydration of the xerogel. With the benefits of simplicity and generality, this strategy can be readily applied to different hydrogel systems, no matter what the substrate is. Hydrogel adhesion is demonstrated by its tolerance against mechanical impact with hydrodynamic shearing at 14 m/s. This method affords powerful supplements to renew the surface chemistry and physical properties of solid substrates. In addition, we show that the RHP technique can be applied to living tissue, with potential for clinical applications such as the protection of bone tissue.
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Chen, Chen, Guang Xue Chen, Zhao Hui Yu, and Zhao Hui Wang. "Method of Reproducing Three-Dimensional Oil Paintings." Applied Mechanics and Materials 731 (January 2015): 260–64. http://dx.doi.org/10.4028/www.scientific.net/amm.731.260.
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A new method of reproducing oil paintings is presented in this paper. Implemented by 3D printing, this method can duplicate oil paintings with embossing effect as the same as the stereo brushstrokes in the original paintings. Firstly we use a laser scanner to detect the surface morphology and establish the 3D model of the painting. Next we analyze the UV ink thickness of the UV LED flatbed printer. After these experiments, a slicing strategy was proposed for 3D printing. Lastly, the 3D reproduction is printed by the UV LED flatbed printer.
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Tkachuk, Ilona. "Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 19–37. http://dx.doi.org/10.37131/2524-0943-2019-39-02.
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Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, the approach to a painting is valid according to individual matrices of ideological notions complexes, concepts, principles, mentality, education and preparedness of a creator and a perceiver as a kind of non-verbal communication with a transfer of certain information during this process. Published scientific works refer to the narrow specifics of certain disciplines in the study of perception process of the painting, therefore, they do not constitute a holistic system of knowledge concerning this phenomenon. Among them we note the fundamental researches, which, in particular, set out aesthetic theories: perceptual (M. Beardsley), cognitive (R. Arnheim, D. Berlyne), informational (A. Moles); achievements in neuroaesthetics (V. Ramachandran), psychology of painting perception (V. Molyako, J. Gibson, S. Kosslyn). However, known presented painting perception algorithms do not take into account the entire range of components, parameters and the context of current communication process with art creation. It was revealed that the establishment of variants of components' interaction within the system «artist—painting—recipient», as different ways of cognition and coexistence in the information space, remains at the stage of formation and needs a fundamental development. Objectives. The objectives of the research are to identify concrete models of subjective-objective interaction within the system «artist—painting—recipient» as a result of perception the paintings of the groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna» in the artistic environment. As a material for conducting a practical investigation there were chosen the paintings of above-mentioned groups, because their art, both — as horizontal and vertical, formed a peculiar matrix of Ukrainian visuality. The art code of their works gives the opportunity to see the regularities of historical development of National visual experience. The range of painting form in all its aspects, from transavantgarde — to abstract, makes it possible to consider and analyze the difference between its specific characteristics and accordingly, different models of recipients' perception. Methods. Studying the disclosure of interactive features of interplay between painting and the recipient is related with certain difficulties, mainly of a methodical nature. Exceptionally an interdisciplinary research approach makes the most complete disclosure of the specifics of this process possible, determines its place in culture. During the research the system approach was used as well as such methods: experiment, modeling, structural-functional, statistical and comparative. In order to test the hypothesis, to reproduce the model of information system developed by author in real conditions, arose the need of organization of empirical study. An experiment was chosen as a method that assumes the allocation of significant factors which affect the results of the formation of a particular interaction model within the system «artist—painting—recipient». The investigation with recipients' poll aims to study cause-effect relationships in painting perception process, which assumes the practical modeling of the phenomenon and conditions of its course. Results. It is substantiated that the artistic strategy of two groups — narrative «Paryzka komuna» and non-narrative «Zhyvopysnyi zapovidnyk», has created a unique matrix of Ukrainian visuality, and the art code of paintings enables the revealing of patterns of historical development of National visual experience. Review and analysis of the specific features complex of modernist and postmodernist paintings allowed to identify the origins of four different perception models formation by recipients. Within the framework of the study there were critically comprehended known published painting perception algorithms. As a result of investigation, the informational painting perception system was formed and at the same time there was carried out its correlation with fundamental researches of Western scientists. In particular, they relate to perceptual, cognitive and informational aesthetic theories; achievements in neuroaesthetics and psychology of painting perception. Present model is an attempt to take into account the whole complex of components, parameters and context of communication process with the painting, as well as interpretive art models of corresponding period. Conclusions. Summarizing the results of the experiment, we can conclude that recipients from the range of artistic community clearly manifested the change of perception model — from nonclassical to post-nonclassical. It depended on presented painting — whether narrative artwork or «painting-opened-structure-object» was shown. The first one personifies the painters' works of «Paryzka komuna», and the second — artists' painting practice of «Zhyvopysnyi zapovidnyk». Also there were stated the individual manifestations of primordial and classical interaction painting models with their complexes of inherent specific features. Obtained results can form the support material for the evaluation of artworks — both within and outside the art institutions. Also the main theoretical positions can be relevant for artists in process of their work with the construction of further strategy, as well as for recipients interacting with painting
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Shi, L., T. Zhu, M. Morgante, J. A. Rafalski, and P. Kelm. "Soybean Chromosome Painting: A Strategy for Somatic Cytogenetics." Journal of Heredity 87, no. 4 (July 1, 1996): 308–13. http://dx.doi.org/10.1093/oxfordjournals.jhered.a023004.
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Wang, Liming. "Discussion on the Teaching Strategy of Oil Painting in Colleges under the Background of Multiple Art Culture Development." Lifelong Education 9, no. 6 (September 28, 2020): 136. http://dx.doi.org/10.18282/le.v9i6.1323.
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The development of multiculturalism is the inheritance of human civilization and the result of the further deepening of globalization. The diversified development of fine art culture is one of the main situations of fine art development. The art creation theories, conceptual methods, and painting skills, etc., all exhibit diverse characteristics. Based on this background, college oil painting teaching also needs to grasp this multicultural situation, carry out curriculum teaching reform and innovation, and promote the diversified development of fine arts education. This article introduces the development trend of multiple arts culture and its impact on domestic oil painting, analyzes the current status of oil painting teaching in colleges and universities, and explores effective countermeasures for oil painting teaching in colleges and universities in the context of multiple art culture.
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Bouraoui Mabrouk, Injazette. "La poésie silencieuse d’Henri Michaux à René Magritte ou quand le poème se substitue en tableau." Quêtes littéraires, no. 5 (December 30, 2015): 129–37. http://dx.doi.org/10.31743/ql.255.
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Henri Michaux, Paul Klee and René Magritte enroll in a interdisciplinary perspective where painting looks as poem and vice versa. Correspondence between writing and painting defies taxonomy of the pictorial and scriptural in order to establish a new trans-esthetic approach. Painting interpretations show that poetry writing and pictorial articulate two tactics for the same strategy: auscultate the problem of being.
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Bai, Yong. "Intelligent Painting Process Planner for Robotic Bridge Painting." Journal of Construction Engineering and Management 133, no. 4 (April 2007): 335–42. http://dx.doi.org/10.1061/(asce)0733-9364(2007)133:4(335).
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Chen, Chen, Guang Xue Chen, Zhao Hui Yu, and Zhao Hui Wang. "A New Method for Reproducing Oil Paintings Based on 3D Printing." Applied Mechanics and Materials 644-650 (September 2014): 2386–89. http://dx.doi.org/10.4028/www.scientific.net/amm.644-650.2386.
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This work aims at presenting a new method for reproducing oil paintings via 3D printing. We used a laser scanner to detect the surface morphology of an oil painting and found it was capable to print the stereo brushstrokes through layered printing after analyzing the UV ink thickness of type UJF-3024 ink-jet printer. Base on the 3D model we established, a slicing strategy was proposed for 3D printing. An experiment was conducted to validate feasibility of the method. Ultimately, the method has proven to be comparatively effective.
Dissertations / Theses on the topic "Painting strategy"
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Nichol, Catherine. "Claiming process : a strategy of production in approaching notions of self, biography and community in painting." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/25921.
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My project is an exploration of process within the painting medium, themed round my experiences of 'self' and community, as located in my past and present circumstances. Throughout my work, my intention has been to explore my social, personal and political 'beliefs' in order to create a body of paintings that both reflects and challenges my 'belief' structures. In my work there are contradictory desires for change and stability, and an ongoing struggle between location and dislocation.
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Nallicheri, Renu Agawal. "Automotive painting--an economic and strategic analysis." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/12304.
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Wang, Yan-Jr, and 王衍智. "Learning Effects of Using Cooperative Learning Strategy in Digital Painting Courses." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/54186550493302035665.
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碩士國立臺中教育大學
數位內容科技學系碩士班
98
Nowadays there are more and more people who use computers to finish their work and exchange information. On top of that, with many software applications in painting and education, new software comes out one after another. In the past, painting is subject to restrictions such as environment, materials and time, etc. Many works have consumed lots of resources in the initial study. With preparing many tools and materials, the teaching schedule is affected. With computer applications, physical materials and images are digitizing. Through practicing and teaching on computer, the material consuming can be reduced and the learning efficiency can be promoted. The study aims to use online painting technology into cooperative learning and teaching, and we confirm that cooperative learning is better than traditional teaching. Furthermore, we discuss learners’ acceptance about online painting collaborative learning environment by TAM (Technology Acceptance Model). Our results shows that learner’s learning performance upgrades significantly after he participated in online drawing. Moreover, PEU (Perceived Ease of Use) can positively influence PE (Perceived Usefulness). Also, PEU and PE both can predict their behavior intention for online painting environment. In learner’s individual factors such as gender, information ability, and experience of using painting tools do not have significantly differences. This means that the online painting and cooperative learning system environment can be accepted by any personal characteristics of learners, and this favors the promotion and application.
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Dean, Carolyn Sue. "Painted images of Cuzco's Corpus Christi social conflict and cultural strategy in viceregal Peru /." 1990. http://catalog.hathitrust.org/api/volumes/oclc/22533745.html.
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Liu, Hsin-Lu, and 劉信陸. "A Study of Strategy Evaluation of Steel Materials Shot-Blasting and Painting Industry." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/pd22en.
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碩士國立中山大學
高階經營碩士班
96
ABSTRACT “A” company concentrates on “Water Jet” business for more than twenty years, it had grown slowly and steadly. For this reason, the founder would like diversify his existing business from coping as the spinouts of Plastic Group and CPC Corporation, Taiwan. “A” company did some investments, they are shot-blasting and rust remover automatic machine. And because politic, economic and environment evaluation factors, the spinouts couldn’t be build up as they expected. Thus, results of related business were not good. The research analyze the related potential business by interact effects of vertical integration to break through its difficult position and then expend its business to step into the “Blue Ocean Market”. The research way of this case was adopted a two-steps method. The first step was quality inquiry, and than made use of AHP method to do some related pilot survey. Ten companies of three types industry were subjects of this study. They were the manager of piping assembly industry, structural steel industry and steel plates industry. There were ten questionnaires in quality investigation and quantification item of each step. All together, there were forty questionnaires. The key point of this research was to do qualitative statistical analyze and compare and calculate index weight to apply the order of priority for suitable business classification. By the AHP’s research and questionnaires of the vertically integratation of sandblasting factory in the in the field of Taiwan, we have found the medium-term and long-term result is atmospherics and steady on the first phase which we have asked people to choose the appropriate category. What the heaviest weight of the quantifiable computation is the steel sheet industry (47.1%)，plumbing industry is next best(29.2%). Therefore, the second stage of the research is order of steel sheet industry. The result of qualitative statistic in second stage are “high value-added” and “optimistically long-term”. The order of result of quantifiable questionnaire is “tank manufacture”, 34.6%; “bridge reinforcement”, 31.3% and “sewage pipe”, 27.8%. As to “large case beam” just accounts for the weight 6.4%, it does not adapt to make the vertical conformity of process products in sandblasting industry. The weight of the first three products is very close, that means three products also to be adaptable to make the vertical conformity. The choice of business need to depend on the product price trend, it could not operate that only choose the sole product. Key words: Water Jet business, Blue Ocean Strategy, AHP, Industry Analysis
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Chang, Ching-Jen, and 張慶仁. "A study of the licensing strategy on merchandising David Mann painting in Taiwan market." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/umxt3a.
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碩士國立臺灣師範大學
美術學系
106
The purpose of this study is to understand the feasible strategies and models for the commercialization of the Taiwanese market authorized by the American painting Mann. Starting from the review of perceptual aesthetic leisure theory, the intellectual property rights of Taiwan and the United States proceed with the international status quo of Taiwanese cultural and creative market. Through the interim objective of Synchronous Interview of intersubjective, the result shows that the liberal style painting was conducted in Taiwan Commercialization of cultural and commercial opportunities, due to Mann painting style is accepted, but the actual purchase of commercial action there are still other intermediary variables, it is difficult to predict. Although the copyright laws in Taiwan and the United States, as well as the agreement between the two countries, can provide U.S. authorities with protection and relief opportunities after their infringement, in practice they still rely on the mutual signatures signed by the two parties' authorization agreements. Taiwan's authorized parties Whether the third party has sincerely respected intellectual property rights, and the result of the infringement suit being adjudicated. The content of the negotiation of the licensing agreement for the commercialization of American paintings in Taiwan mainly includes the exclusive or non-exclusive right transfer of the author's writings in property rights, the partial or complete reproduction right and adaptation right, the fair use of the author's trademark rights, Issue, public display, publishing and other issues of rights. The definition of the term of American painting is more detailed, and the term of protection of rights is longer. The stipulation of the transfer of the rights of the licensing object and the period of terminating the rights and interests differs from that of Taiwan. The professional brokers in the United States appoint attorneys and their courts to adjudicate the compensation for infringement of rights Compensation is also more. Therefore, it is certainly better to have a court of jurisdiction and adjudication in the United States. Therefore, the painter should, of course, entrust a professional brokerage firm or form a team of legal, accounting, manufacturing and marketing professionals who practice rehearsals according to different subjective positions before choosing the best strategy and the most favorable timing. Finally, this study provides a widely accepted licensing model to allow for strategic thinking about licensing. The overall process of rationalization includes: (1) Selection of cooperative manufacturers and licensing experts (2) Necessary cognition and preparation prior to negotiation (3) Attitude and emotional skills during negotiations (4) License negotiation matters (5) Licensing fees and infringement Compensation issues. The negotiation strategy includes: (1) preparation before negotiation (2) mutual understanding (3) active negotiation (4) substantive negotiation (5) agreement signing. In short, private agreements precede the law and are not easily changed after signing. The law is also aimed at preventing but without absolute guarantee of interests. Therefore, "mutual trust in good faith is better than a piece of paper". Regardless of the appointment of brokers, authorized parties, authorized parties should be a win-win first.
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YU, CHUN-MING, and 余淳銘. "Studies in Computer Graphic Teaching Strategy for Elementary School Students in web-painting message board --- A Case Study Based on OekakiBBS web-painting message board of Web Platform." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/88703741382466869532.
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碩士國立新竹教育大學
人資處美勞教學碩士班
95
The purpose of this study was to examine the effectiveness of “the screen-broadcast -demonstration strategy” and“the group-cooperation-guidance strategy” on attitudes toward the study of computer graphic and the cognitive ability about painting software on web-painting message board for elementary school students. An experiment with pretest-posttest nonequivalent-control-group design was conducted. The subjects were 53 fifth grade students in 2 classes. twenty-seven students in one class were assigned to the experimental group, and twenty-six students in the other class were assigned to the control group.“the group-cooperation-guidance strategy”was used to be instruction model for the experimental group while the control group received“the screen-broadcast -demonstration strategy”. The teaching lasted 5 weeks and 10 class sessions were included.One research instrument –Scale of Computer Graphic Learning Attitudes was employed before and after teaching for two groups of students .One research instrument – Computer Graphic Learning Achievement Test of the cognitive ability about painting software on web-painting message board was employed after Second stage of teaching activity for two groups of students. For the research information, we use such statistical methods as Independent Samples T Test, Paired Samples T Test to perform our test. According to the results, the conclusions are as the following: 1.Regarding Computer Graphic study attitudes: （1）The experimental group had a higher score in posttest than in pretest and there was significant difference between posttest and pretest. （2）The control group had a higher score in posttest than in pretest and there was significant difference between posttest and pretest. （3）The experimental group had a higher score in Scale of Computer Graphic Learning Attitudes than the control group but there was no significant difference between the two groups. 2.Regarding the cognitive ability about painting software on web-painting message board: The experimental group had a higher score in Computer Graphic Learning Achievement Test of the cognitive ability about painting software on web-painting message board than the control group and there was significant difference between the two groups. Finally, this study has made suggestions for teaching, syllabus design and further study. Key Words: web-painting message board，teaching strategy
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Byrd, Denis. "Research-Based Studio Art as a Strategy to Support Inter-Disciplinary Learning." 2014. http://scholarworks.gsu.edu/art_design_theses/167.
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This studio-based thesis study discusses historical research as a motivation for art creation. Incorporating historical research on the naturalist and explorer William Bartram this paper explores the ways history may serve as inspiration for art-production. This paper also examines how making art may act as a form of research. Additionally, it explores how this strategy may be implemented in the classroom, with the intention of leading to greater engagement and understanding by students within their research area as well as their artistry.
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Zhao, Yue Qu. "Emptiness as a visual strategy: an exploration of visual absence in contemporary art practice." 2009. http://hdl.handle.net/10292/483.
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This project explores the idea of visual absence in relation to the notion of Chinese classical aesthetics of emptiness. The approaches is located in between representation and abstraction by combining the painting skills and expressions of Chinese Gong Bi [工笔] and Xie Yi [写意] with focuses on complementing visual clarity and obscurity. The aim of the research is to explore visual absence as a painting strategy in contemporary art practice, referring to the painting method of reduction, incompleteness and metaphor that extends the painting space and meaning through visual presence, thus unfurling an extended art form and creative strategy from Chinese classical aesthetics. The outcome is a series of paintings as an exploration in extending the Chinese painting aesthetics. This project is constituted of 80% practice-based work, accompanied by 20% exegesis in approximately 11,600 words as a complement.
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Silva, Miguel Duarte Vieira da. "Du Arte online platform : local art for a global market." Master's thesis, 2019. http://hdl.handle.net/10400.14/26936.
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The goal of this dissertation is to analyse the competitive landscape and the customer segments of the online art market, to enable Du Arte (an online marketplace of artworks) to pursue a successful market entry and achieve profitability in the long-run. For this, it addresses five research questions on Du Arte: identifying the main competitors, the competitive forces that pressure the most, the customer segments more willing to use the platform, the customer segment that is most attractive, and the required investment and break-even timeline. The competitive analysis part explained how the market is today, assessed which segments of the market might constitute an opportunity, established a course of action for a market entry, and analysed Du Arte (SWOT analysis) and its competitors through a strategic groups map and Porter’s five forces, thus determining the main competitors and the most pressuring competitive forces. The customer analysis part identified which customer segments are more willing to use the platform and which variables (behaviour-based and user-based) are more relevant in explaining it, through a regression analysis using the data collected from the survey; identified the willingness to pay for an artwork of each customer segment; and identified the most attractive customer segment through an attractiveness analysis based on the size, growth, margin and competition dimensions of each segment. The financial analysis part explained the profitability and required investment of Du Arte in the first five years, and the break-even point according to an optimistic or conservative scenario.O objetivo desta dissertação é analisar o cenário competitivo e os segmentos de clientes do mercado online de arte, para garantir que a Du Arte (mercado online de obras de arte) seja bem-sucedida na entrada no mercado e seja rentável no longo prazo. Para tal, aborda cinco questões sobre a Du Arte: identificar os principais concorrentes, as forças competitivas que mais pressionam, os segmentos de cliente mais dispostos a usar a plataforma, o segmento de cliente mais atrativo, e o investimento necessário e ponto de break-even. A parte da análise do cenário competitivo explicou como o mercado funciona hoje, avaliou que segmentos do mercado podem constituir uma oportunidade, estabeleceu um curso de ação para uma entrada no mercado, e analisou a Du Arte (análise SWOT) e a concorrência, através de mapa de grupos estratégicos e as cinco forças de Porter, determinando os principais concorrentes e as forças competitivas que mais pressão fazem. A parte da análise de cliente identificou os segmentos de cliente mais dispostos a usar a plataforma e quais as variáveis que melhor o explicam, através de regressões com os dados do questionário; identificou o quanto cada segmento de cliente está disposto a pagar por uma obra; e identificou o segmento de cliente mais atrativo através de uma análise de atratividade baseada no tamanho, crescimento, margem e concorrência. A parte de análise financeira explicou a rentabilidade e o investimento necessário para os primeiros cinco anos e o ponto de break-even para um cenário otimista ou conservador.
Books on the topic "Painting strategy"
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Žerovc, Beti. Rihard Jakopič: Umetnik in strateg. Ljubljana: Zal. /*cf., 2002.
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La strategia dell'attenzione: Pittori a Napoli nel primo Seicento. Napoli: Libreria Dante & Descartes, 2007.
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Donne e moderno: Mode, immagini, strategie femminili in Germania dall'inizio del secolo agli anni trenta. Milano: Electa, 1991.
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Shelley, Bruce. Sherlock Holmes, Consulting Detective: The Unauthorized Strategy Guide. Rocklin, CA: Prima Games, 1994.
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Holt, Robin. The Judge. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199671458.003.0012.
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The judge is the singular source of authority, the figure in whose action judgment is embodied. Using Georges Rouault’s painting, The Judges, this chapter discusses the relationship between law, spectating, and feeling. Taking up a refrain from Walt Whitman, a poetic form of judging is argued for. Poetic judgment brings about a world framed by the creation of forms by which we can educate ourselves in the collective business of living. Strategy, understood as the presentation of an organization to itself and others, becomes a judgmental condition of bringing together general sensibility and particular experience to re-frame the places in which we live and work. This chapter introduces a reversal of visionary forms of strategy. With poetic judgment, strategy becomes an aesthetic process of creating organizational forms and we become increasingly and collectively aware of the vulnerable ordinary and its panoply of elusive and sometimes strange occurrences.
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Crawford, Margo Natalie. The Politics of Abstraction. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041006.003.0003.
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The second chapter shows that the Black Arts Movement called upon abstraction as the movement hailed blackness. Crawford argues that the black abstract art of the 21st century is a direct continuation of the Black Arts Movement working of abstraction for its blackest possibilities. The paintings of the Afri-COBRA collective are as central to this chapter as the 21st century sculpture of Barbara Chase-Riboud and the 21st century paintings of Kerry James Marshall. This chapter argues that we have failed to see the connections between strategic essentialism and what Crawford names “strategic abstraction.”
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Wolfsdorf, David Conan. On Goodness. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190688509.001.0001.
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On Goodness attempts to answer the question “What is goodness?” It is natural to associate this question with ethics; but goodness is not confined to ethics. Water and wine, a strategy for streamlining maintenance operations, and an oil painting may all be good and in non-ethical ways. Goodness figures prominently in ethics; so the study serves ethics. But it serves other domains as well. On Goodness is a contribution to the foundations of value theory. It is also a metaphysical inquiry, for two reasons. As the examples indicate, the entity under investigation is extremely general. Goodness occurs in potables, plans, and paintings, among countless other kinds of things. Second, it is particularly obscure what sort of being the entity is. Besides the description “good,” is there a single thing that good drinks, strategies, and artworks share? Is their goodness related in a more complex way? And regardless of these relations, in any instance, just what is that goodness? The question “What is goodness?” has been central to philosophy since Socrates and Plato made it their polestar. The distinctive contribution of On Goodness lies in its methodology. The method of pursuing the metaphysical question is linguistic. The basic proposal is that achieving the answer depends on clarifying the meaning and use of the words “good” and “goodness.” Consequently, the study is pervasively informed by and critically engaged with contemporary linguistic theories and ideas.
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Guiney, Thomas C. Postscript. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198803683.003.0011.
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The Postscript traces the evolution of early release since the events described in this book. It examines the growing influence of a ‘strategy of bifurcation’ within penal policy and considers how the differential treatment of low-level and serious offenders has transformed the policy and practice of early release in England and Wales. Given the space available, this involves painting with broad brush strokes and this postscript is loosely divided into three political interludes: the early years of New Labour, 1997 to 2003; the later stages of the New Labour project, 2004 to 2010; and the Coalition and Conservative governments that have followed since 2010.
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Pong, Beryl. British Literature and Culture in Second World Wartime. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198840923.001.0001.
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What happens to the concept of wartime in the 1940s? For the Duration excavates British late modernism’s relationship to war in terms of chronophobia: a joint fear of the past and future. Coloured by the trauma of past violence and dread of those to come, the Second World War and its defining military strategy, civilian aerial bombardment, upended straightforward understandings of past, present, and future. Identifying a constellation of temporalities and affects under three tropes—time capsules, time zones, and ruins—the book contends that Second World Wartime is a pivotal moment when wartime surpassed the boundaries of a specific state of emergency, becoming first routine and then open-ended. It scrutinizes a variety of cultural artefacts, from life-writings to short stories, from novels to film and painting, that formally registered the distinctiveness of this wartime through a complex feedback between anticipation and retrospection. While offering a strong foundation for new readers of the mid-century, the book and its overall theoretical focus on chronophobia will be an important intervention for those already working in the field.
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Petho, Ágnes, ed. Caught In-Between. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474435499.001.0001.
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This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern Bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina, and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. Through different theoretical approaches and thematic focuses, the book attempts to contribute to the understanding of intermedial phenomena in contemporary cinema as a whole by mapping meaningful areas of in-betweenness including the intermedial and interart relations in-between cinema, music, theatre, photography, painting, sculpture, literature, language and the new, digital technologies of the moving image.
Book chapters on the topic "Painting strategy"
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Edström, Håkan, and Dennis Gyllensporre. "Painting the Theoretical Landscape." In Pursuing Strategy, 26–59. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230364196_2.
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Westelius, Alf, and Johnny Lind. "Painting the Relevant Organisation." In Strategic Management Control, 31–43. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38640-5_3.
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Degrigny, Christian, Frank Boochs, Laura Raddatz, Jonas Veller, Carina Justus, and Matthieu Pinette. "Use of Imaging Techniques as a Support for the Preventive Conservation Strategy of Wall Paintings: Application to the Medieval Decors of the Château de Germolles." In Lecture Notes in Computer Science, 24–34. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51935-3_3.
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Lewis, George. "Virginia's Northern Strategy: Southern Segregationists and the Route to National Conservatism." In Painting Dixie Red, 98–116. University Press of Florida, 2011. http://dx.doi.org/10.5744/florida/9780813036847.003.0006.
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Bowen, Michael. "The First Southern Strategy: The Taft and the Dewey/Eisenhower Factions in the GOP." In Painting Dixie Red, 220–35. University Press of Florida, 2011. http://dx.doi.org/10.5744/florida/9780813036847.003.0011.
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Eisner, Martin. "The Painting (Composition)." In Dante's New Life of the Book, 149–70. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869634.003.0008.
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This chapter scrutinizes the challenges editors confronted in their typographical composition of Dante’s poem with two beginnings. Should the first beginning be followed by the rest of the poem and then the second beginning or both beginnings and then remaining verses? The various solutions proposed in the early printed editions, nineteenth-century translations, and early modern manuscripts, show the complexity of Dante’s own poetic strategy in this poem on the anniversary of Beatrice’s death, which aims to defeat time and overcome Beatrice’s death by adding more time. Exploring the persistence of this issue in the most recent editions, the chapter considers the poem in light of Dante’s decision to represent himself in the prose as painting an angel. Connecting this remark to Dante’s reflections on angels and representation in the De vulgari eloquentia and the Commedia, this chapter examines Dante’s thinking about the materiality of texts and the relationship between word and image in the context of a larger tradition that stretches from Augustine and Petrarch to Sterne’s Tristram Shandy.
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Goudouna, Sozita. "Conclusion: The Afterlives of Breath: Breathe – Breathe Again … Breathe Better." In Beckett's Breath. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474421645.003.0009.
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The book concludes by focusing on Beckett’s ‘aesthetics of failure’ in his final piece of discursive writing “The Three Dialogues,” and considers the exhaustion of possibilities as a fundamental artistic strategy, as well as the tension between abstraction and expression, the dilemma of artistic expression and the impossibility of expression in painting. Adding to this, the endnotes encourage multiple perspectives on health, art and life and offer original methods of understanding the role that respiration plays in our sensory, emotional and spiritual life.
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Goldhill, Simon. "The Art of Reception: J. W. Waterhouse and the Painting of Desire in Victorian Britain." In Victorian Culture and Classical Antiquity. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691149844.003.0002.
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This chapter examines how paintings depicting the classical past became a way of talking about—or not talking about—sexual desire by focusing on the art of John William Waterhouse. It considers four of Waterhouse's paintings—Saint Eulalia, Mariamne, Hylas and the Nymph, and Circe Offering the Cup to Odysseus—and shows that they are a paradigmatic site for reflecting on the complexity of the circulation of classical knowledge in Victorian culture—reception in action. It also explores how Waterhouse represents the male subject of desire, and how his representational devices position, manipulate, and implicate the viewer. The discussion places Waterhouse at the center of a Victorian worry about male self-control and erotic openness, and suggests that his case is an example of how one strategy of modern self-definition loves to oversimplify “the Victorians” as a contrastive other to today—and nowhere more obviously than in the field of sexuality.
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Nguyen, C. Thi. "Framed Agency." In Games, 121–40. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190052089.003.0006.
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In this chapter, we examine games as works—that is, as authored, intentional artifacts. The chapter centers on one key features of works: that there are prescriptions for adequately encountering one. Just as you must look at a painting from the front to encounter it, you must play a game by following rules and pursuing the goals. Such prescriptions offer an attentional frame for audience members, directing their attention in a shared way. These frames, and the prescriptions that establish them, are crucial for establishing communicative stability between artist and audience, and between different audience members. The chapter concludes with a taxonomy of game types, each with its own distinctive prescriptions, which arise from the variable requirements for a player skill. Some games—party games—prescribe low-skill play. Other games—heavy strategy games—prescribe that their players become highly skilled, before they can adequately encounter and appreciate the game. Still other games—community evolution games—prescribe that players participate in an ongoing communal conversation about gaming strategy, to adequately encounter the game.
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Górecka, Ewa. "Horror amid Sweetness." In The Novel of Neronian Rome and its Multimedial Transformations, 193–208. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198867531.003.0011.
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Postcards, once an important form of communication which has now been driven out of contemporary culture by emails and other instant messages, are the least known among the metatexts of Sienkiewicz’s novel. The time of the novel’s creation and the fact that it was quickly recognized as a bestseller contributed to the production of numerous postcards that presented scenes and characters from Quo vadis. They deserve attention not only for their artistic variety (style, technique, format, and so on), but also for their coexistence with kitsch. The presence of this aesthetic category in intersemiotic interpretations of Sienkiewicz’s work implies the need for determining which parts of the novel particularly encourage kitsch. Postcards referring directly to Quo vadis reveal the presence of different types of kitsch. Due to the novel’s subject matter, religious, erotic, and patriotic kitsch are observed most often, followed by the kitsch of death and suffering. In order to understand the connection between Sienkiewicz’s Quo vadis and kitsch, it is not enough to determine its types. Kitsch on postcards tends to be integrated into an intertextual and periphrastic strategy. Whether through the vehicle of a photograph, watercolour painting, oil painting, engraving, or sculpturography, the purpose of creators of illustrations was usually to put across the idea of the novel and its aesthetic value. Importance was also attached to the expectations of potential purchasers of postcards, both those who had and those who had not read Quo vadis. Thus, the postcards are valuable evidence not only of the artistic interpretation of the novel in different semiotic systems but also of the perception of ancient Rome in twentieth-century European culture.
Conference papers on the topic "Painting strategy"
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Zhou, Long, and Lingxia Zhang. "The Role and Strategy of Diversified qArtisanq Talents in Contemporary Ceramic Painting." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.32.
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Ke, Li, Xu Wu, He Jin, and Cao Lucheng. "Research on the Protection and Communication Strategy of Cangyuan Cliff Painting Based on Virtual Reality Technology." In 2018 3rd International Conference on Computational Intelligence and Applications (ICCIA). IEEE, 2018. http://dx.doi.org/10.1109/iccia.2018.00042.
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Yacher, J. M., M. Wallace, W. Heitbrink, and T. Hoermann. "250. A Control Strategy Matrix for the Autobody Repair Industry: Spray Painting Autobody Parts in a Down Draft Hood." In AIHce 1998. AIHA, 1999. http://dx.doi.org/10.3320/1.2762641.
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Li, Chunwang, Peizhe Tian, Yimin Wu, and Jun He. "Design and Application of High-Precision Temperature and Humidity Control for Automobile Painting Workshop Based on Sub-Area Division Strategy." In 2009 Fourth International Conference on Innovative Computing, Information and Control (ICICIC). IEEE, 2009. http://dx.doi.org/10.1109/icicic.2009.159.
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Beheshtian Mesgaran, Saeed, Farzad Elhami Nik, and Seyyed Emad Seyyed Mousavi. "Experimental and Numerical Analysis of Burn Marks and Shrinkage Effect on Injection Molding." In ASME 2017 12th International Manufacturing Science and Engineering Conference collocated with the JSME/ASME 2017 6th International Conference on Materials and Processing. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/msec2017-3009.
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Injection Molding is among the most popular processes in plastic parts production. Through this process, burn marks and shrinkage play the most significant role in decreasing surface quality as well as increasing costs, especially when manufacturers use this method in order to produce thin-walled plastic parts. In this paper, a new strategy to remove the defects caused by shrinkage and burn marks has been proposed for the injection molding process of a specific plastic part which is used to keep the doors of an automobiles open during the painting process. Burn marks caused by the trapped air inside thin walls of the part were first simulated in MOLDFLOW 2010 software. Next step is to compare the simulation results to results that are obtained from experimental analysis. Then, Burn marks and shrinkage effects were eliminated by optimization of the process which includes mold design revision by means of SOLIDWORKS software, modification of the simulation in MOLDFLOW and the mold modification in workshop environment by improvising some ejector pins in certain points. Furthermore, shrinkage amount of the part after cooling process was calculated by applying Finite Element Method (FEM) and obtained results were used to optimize the design of the mold. Results demonstrate that mold design optimization would be possible through designing flawless molds that contain certain points for trapped air discharge and calculating shrinkage amount by FEM for optimization of design procedure. Results consequently decrease costs as well as providing surface quality improvement.
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Boscariol, Cristina, Dipak Sarker, Boseon Kang, Cyril Crua, and Marco Marengo. "Drop Impact onto a Metallic Porous Layer: Effect of Liquid Viscosity and Air Entrapment." In ILASS2017 - 28th European Conference on Liquid Atomization and Spray Systems. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/ilass2017.2017.4973.
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The drop impact onto porous surfaces has important applications in many fields, such as painting, paper coating,drug delivery and cosmetic sprays. In most of these applications, the optimisation of the deposition process is carried out empirically, without a proper understanding of the physics and a theoretical modelling of the spreading and the imbibition phenomena. The purpose of this study is to analyse droplet impacts on metallic meshes to define a general modelling strategy of the impact regimen on particular 2D regular porous surfaces. The application of this structure is relevant in process like filtration but also in the medical field, considering for example reconstructive surgery. By analysing the impact of droplets of water, acetone and a mixture of glycerol and water, having a diameter and an impact velocity in a range of 1.5-3mm and 2-4m/s, respectively, on meshes with a pore size ranging between 25 and 400 µm, a regime map was built considering 6 different impact outcomes. The outcomes were characterised by a deposition of the droplet on the substrate, or a partial imbibition, or a total imbibition. By increasing the impact velocity, a splash region was defined, which is still characterised by a final deposition, a partial imbibition and a total imbibition. It is found that the most influencing parameters are closely linked to the liquid properties and the impact velocity, more specifically liquid surface tension plays a major role in defining the impact outcome. In the case of Acetone, the lower surface tension brings to an almost instantaneous total imbibition whereas the experiments conducted using water and glycerol solution, showed a major distribution of the deposition regimes with respect to the other outcomes, due to the effect of a higher viscosity. It was found that the geometrical characteristics of the mesh such as pore size and wire diameter, play an important role as well in defining the total imbibition outcome. Finally, the defined transition maps, shows that for a certain combination of physical properties and initial condition,the outcome of the droplet impact is predictable.DOI: http://dx.doi.org/10.4995/ILASS2017.2017.4973
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Sousa, Selen, Alexandre Sá, Victor Pigozzo, and Julio C. Passos. "Experimental evaluation of heat loss from a LFC’s multi-tube trapezoidal cavity absorber considering strategic painting of the tubes." In SolarPACES 2017: International Conference on Concentrating Solar Power and Chemical Energy Systems. Author(s), 2018. http://dx.doi.org/10.1063/1.5067084.
Full textReports on the topic "Painting strategy"
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Agbelie, Bismark R., Jon D. Fricker, Samuel Labi, and Kumares C. Sinha. Strategic Scheduling of Infrastructure Repair and Maintenance: Volume 1—Decision Tree for Steel Bridge Painting. Purdue University, May 2018. http://dx.doi.org/10.5703/1288284316511.
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