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.
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Soto, Laura. "Estrategia y representación identitaria a través de la pintura andina de Tigua (Ecuador)." Revista Andaluza de Antropología, no. 17 (2019): 94–114. http://dx.doi.org/10.12795/raa.2019.17.05.
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Beggs, Alan, and Kathryn Graddy. "Anchoring Effects: Evidence from Art Auctions." American Economic Review 99, no. 3 (May 1, 2009): 1027–39. http://dx.doi.org/10.1257/aer.99.3.1027.
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This paper shows that the price of a painting sold at an art auction and the experts' pre-sale valuations are anchored on the price at which the painting previously sold at auction. We are able to separate anchoring from rational learning by using the identifying strategy that the unobservable component of quality for a particular painting remains constant between the last auction sale and the current auction sale. We interpret these results as anchoring on the part of the buyers, with the sellers and auctioneers either anticipating anchoring on the part of the buyers or exhibiting anchoring effects themselves. (JEL D44, Z11)
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Yabu M., Yabu M., Benny Subiantoro, and Achmad Yasin. "SENI LUKIS MIXEDMEDIA: Karya Mahasiswa Program Studi Pendidikan Seni Rupa Fakultas Seni dan Desain Universitas Negeri Makassar." TANRA: Jurnal Desain Komunikasi Visual Fakultas Seni dan Desain Universitas Negeri Makassar 6, no. 3 (December 2, 2019): 28. http://dx.doi.org/10.26858/tanra.v6i3.11329.
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This research is qualitative descriptive research aimed to describe: (1) strategy used by lecturers in developing creative imagination of students of Art Education Study Program of Faculty of Arts and Design of Universitas Negeri Makassar through Development of Mixedmedia painting; (2) understanding of students in realizing mixed media painting. Population and sample in this research were all works made by students participating in the painting III courses in Art Education Program in the odd semester of the academic year 2015/2016. The object in this research was the work result of student experimentation in the task of Artist III course, there were 40 works to be analyzed. The technique of data collection was done through observation using observation format, documentation of work, and limited interview. The collected data was analyzed by descriptive-qualitative analysis technique. The results showed that: (1) the students' creative imagination can be fostered through gradually mixed media painting tasks; (2) generally, the students of Art Painting III have a good understanding of creating mixed painting with media utilizing various mixed materials.
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Tiancheng, Zhang, and Chu Tieyi. "The preliminary study on the application of modern advanced processing technique in non-legacy cultural and creative product design-- Taking Wuhu iron painting as an example." E3S Web of Conferences 179 (2020): 02091. http://dx.doi.org/10.1051/e3sconf/202017902091.
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In order to improve the production efficiency of traditional non-legacy cultural heritages and create non-legacy cultural and creative products in line with modern aesthetics, the paper combines traditional non-legacy cultural heritages manufacturing technique and modern advanced processing technique, which is conducive to improve the design of traditional techniques of Wuhu iron painting. First of all, this paper analyzes the connotation of traditional non-legacy cultural heritage technology, the categories of modern advanced processing technique and the traditional forging technique of Wuhu iron painting, and introduces the strategy and development history of traditional non-legacy cultural heritage manufacturing technique. Taking Baogong cultural and creative product design as an example, this paper innovates the processing technique of iron painting through cutting and processing, and the design theme is fully realized in the innovative iron painting, which to a certain extent realizes the unity of technique and art, and shows the effectiveness and practicability of modern advanced processing technique in non-legacy cultural and creative product design.
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Cipriani, Gabriele, Luca Cipriani, Sabrina Danti, Lucia Picchi, and Mario Di Fiorino. "Links Between Painting and Neurology: The Example of Dementia." American Journal of Alzheimer's Disease & Other Dementiasr 34, no. 4 (January 30, 2019): 217–22. http://dx.doi.org/10.1177/1533317519826293.
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Art is a system of human communication arising from symbolic cognition, conveying ideas, experiences, and feelings. The goal of this review is to describe the link between painting and dementia. Individuals with neurodegenerative diseases inevitably experience cognitive dysfunction that has the potential to limit and impair the artist’s ability to realize their creative and expressive intentions through painting. The strategy to advance our understanding of the neural bases for art is to map locations and nature of neural damage to changes onto artistic production.
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Lausch, A., N. Jensen, J. Chen, T. Y. Lee, M. Lock, and E. Wong. "Graded-threshold parametric response maps: towards a strategy for adaptive dose painting." Journal of Physics: Conference Series 489 (March 24, 2014): 012031. http://dx.doi.org/10.1088/1742-6596/489/1/012031.
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Dynkowska, Julia. "Od narcystycznej identyfikacji do zdystansowanej uważności: refokalizacja w apokryficznych ekfrazach i ekfrastycznych apokryfach Rembrandtowskiej Lekcji anatomii doktora Tulpa." Białostockie Studia Literaturoznawcze, no. 16 (2020): 127–59. http://dx.doi.org/10.15290/bsl.2020.16.07.
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The paper presents the strategy of refocalization in apocryphal ekphrases and ekphrastic apocrypha, and more specifically, the shift from the perspective that dominates the original painting into the perspective and narrative that are valid in the literary text(s) inspired by this painting. The precise subject of this study are works related to Rembrandt’s The Anatomy Lesson of Dr. Nicolaes Tulp – Jacek Dehnel’s Po wyjściu malarza, Jacek Kaczmarski’s Lekcja anatomii (według Rembrandta), Nina Siegal’s Anatomy Lesson and a fragment of W.G. Seblad’s novel The Rings of Saturn.
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Peattie, Kenneth J. "Painting marketing education (or how to recycle old ideas)." Journal of Marketing Management 6, no. 2 (January 1990): 105–25. http://dx.doi.org/10.1080/0267257x.1990.9964120.
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Maev, R. GR, A. Baradarani, and J. R. B. Taylor. "New concept for art and antiquities identification based on craquelure pattern analysis." Insight - Non-Destructive Testing and Condition Monitoring 62, no. 3 (March 1, 2020): 134–38. http://dx.doi.org/10.1784/insi.2020.62.3.134.
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In this paper, it is shown that the craquelure patterns of paintings and other antiquities can be considered as fingerprints so that the authenticity of any given artwork can then be verified against prior works. The authors propose to extract craquelure features from photographic images and use them in the implementation of a unique matching procedure to address the art forgery issue as well as to monitor the health conditions of the objects concerned. This feature extraction strategy is robust against illumination, scale, rotation and perspective distortion. The craquelure extraction system developed, called multi-scale multi-orientation morphological processing (MMMP), performs analyses in each sub-band. A comprehensive craquelure image dataset has been constructed from a variety of different types of painting and other art objects. The results show significant improvement and compare favourably with the current best results in the market.
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Iannuzzi, Alessandra, Jorge Pereira, Clara Iannuzzi, Beiyuan Fu, and Malcolm Ferguson-Smith. "Pooling strategy and chromosome painting characterize a living zebroid for the first time." PLOS ONE 12, no. 7 (July 12, 2017): e0180158. http://dx.doi.org/10.1371/journal.pone.0180158.
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Trigatti, Giulio, Paolo Boscariol, Lorenzo Scalera, Daniele Pillan, and Alessandro Gasparetto. "A new path-constrained trajectory planning strategy for spray painting robots - rev.1." International Journal of Advanced Manufacturing Technology 98, no. 9-12 (July 5, 2018): 2287–96. http://dx.doi.org/10.1007/s00170-018-2382-2.
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Nguyen, Lien Mai Thi, and Nhu Chan Minh Dieu Nguyen. "Approaching classical Japanese Haiku poetry through the perspective of ink painting art and application to teaching foreign literature for Literature Pedagogy students at Dong Thap University." Vietnam Journal of Education 5, no. 2 (June 23, 2021): 41–49. http://dx.doi.org/10.52296/vje.2021.98.
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Exploring the culture and literature of countries around the world is increasingly important in the current trend of international exchange and integration. Therefore, foreign literature disciplines, including Japanese literature, occupies an increasingly essential position in the curriculum of Dong Thap University. However, the perception and teaching of Japanese Haiku poems have long been challenged due to language barriers as well as cultural differences. In order for enhancing the quality of teaching Haiku poetry to Literature Pedagogy majors at Dong Thap University, the article presents a new approach towards classical Haiku poetry through the perspective of ink painting art (aka painting art). With the aim of observing the beauty of Japanese literature and culture, the study analyzes the causes and some specific manifestations of the similarities between Japanese ink painting art and classical Haiku poetry in terms of artistic methods. The root cause lies in the influence of Zen, as a cultural characteristic of the Japanese spirit, and the specific manifestations include the technique of empty spaces in ink painting art, and the empty poetic strategy in classical Haiku poetry, the features of the conception scenery and the moment characteristic in both Oriental art genres.
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Nguyen, Lien Mai Thi, and Nhu Chan Minh Dieu Nguyen. "Approaching Classical Japanese Haiku Poetry through the Perspective of Ink Painting Art and Application to Teaching Foreign Literature for Literature Pedagogy Students at Dong Thap University." Vietnam Journal of Education 5, no. 2 (June 29, 2021): 52–60. http://dx.doi.org/10.52296/vje.2021.69.
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Exploring the culture and literature of countries around the world is increasingly important in the current trend of international exchange and integration. Therefore, foreign literature disciplines, including Japanese literature, occupies an increasingly essential position in the curriculum of Dong Thap University. However, the perception and teaching of Japanese Haiku poems have long been challenged due to language barriers as well as cultural differences. In order for enhancing the quality of teaching Haiku poetry to Literature Pedagogy majors at Dong Thap University, the article presents a new approach towards classical Haiku poetry through the perspective of ink painting art (aka painting art). With the aim of observing the beauty of Japanese literature and culture, the study analyzes the causes and some specific manifestations of the similarities between Japanese ink painting art and classical Haiku poetry in terms of artistic methods. The root cause lies in the influence of Zen, as a cultural characteristic of the Japanese spirit, and the specific manifestations include the technique of empty spaces in ink painting art, and the empty poetic strategy in classical Haiku poetry, the features of the conception scenery and the moment characteristic in both Oriental art genres.
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Kiepuszewski, Łukasz. "Face Substances. The rhetoric of Kapists’ self-portraits: between self-reflection and confession." Ikonotheka, no. 30 (May 28, 2021): 51–67. http://dx.doi.org/10.31338/2657-6015ik.30.3.
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Self-portraits are specific kinds of pictures where the subject’s experience is closely combined with the act of painting. Such works constitute a mixture of internal iconic power with external reality, e.g. the artist’s body, his thought, and theory, etc. This applies in particular to self-portraits painted by the members of the Paris Committee since the idiomatic nature of painting was the primary quality on which they based the language and poetics of their art. This paper analyses selected self-portraits by Józef Czapski (1896–1993), Zygmunt Waliszewski (1897–1936), Piotr Potworowski (1898–1964), Artur Nacht-Samborski (1898– 1974), and Jan Cybis (1897–1972). The focus on the strategy of incorporating physiognomy into the matter of painting stems from the fact that on this particular level the intensification of the relationship between the author’s image and his painterly gesture gains the strongest self-reflective potential. This allows for a reading of self-portraits as developing the artist’s reflections about art and himself, included in theoretical writings and intimate journals. Analyses presented in this paper can, therefore, be defined as an attempt to recreate rhetoric of the painterly trace on the basis of choices particular for given work. In this optic, crucial are these aspects of painting that manifest a form of the author’s subjective investment in artistic activity: from emphasising the distance through which the painting presents itself as a code offered to the viewer to decipher (as in Nacht-Samborski’s work) through to declarations to blur the boundary between the artist and the work, which results in an almost organic communion of the body and the matter of painting (Cybis).
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Wattimena, Lucas. "Lukisan Cadas: Simbolis Orang Maluku." Kapata Arkeologi 10, no. 1 (April 23, 2016): 47. http://dx.doi.org/10.24832/kapata.v10i1.217.
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Rock paintings in Moluccas has a core meaning and symbols in the life cycle of Moluccans in the past, present and future-future. Archaeological remains of rock paintings is a cultural interpretation of the past, where the construction of the values contained therein are an integral part of the social system of human culture the people of Moluccas. The values contained is the value of kinship, religion, grouping, knowledge, survival (survival strategy). Rock paintings in Ohoidertawun, Wamkana and Gulf Saleman have hinted that there are phases of any future development of human society. Research on how the rock paintings as archaeological remains, as the impact of the cultural value system and the structure of the rock painting itself. Performed in order to determine the value of the cultural and social system structure Moluccans rock paintings. The study of literature become the main reference of the study, with emphasis on past and present the data. From the research results prove that the archaeological remains of rock paintings have been contributing to the sociocultural meaning people of Moluccas, including the meaning of identity, culture and plurality or diversity.Lukisan cadas di Maluku memiliki inti makna dan simbol dalam siklus hidup Orang Maluku pada masa lampau, sekarang dan masa-masa yang akan datang. Tinggalan arkeologi lukisan cadas merupakan interprestasi kebudayaan masa lampau, dimana konstruksi nilai yang terkandung didalamnya adalah bagian integral dari sistim sosial budaya manusia masyarakat Maluku. Nilai-nilai yang terkandung adalah nilai kekerabatan, religi, pengelompokkan, pengetahuan, bertahan hidup (survival strategy). Lukisan cadas yang ada di Ohoidertawun, Wamkana dan Teluk Saleman telah memberikan petunjuk bahwa ada fase-fase perkembangan masyarakat manusia setiap masa. Penelitian tentang bagaimana lukisan cadas sebagai tinggalan arkeologis, sebagai dampak sistem nilai budaya dan struktur lukisan cadas itu sendiri. Dilakukan dengan tujuan untuk mengetahui sistem sosial nilai budaya dan struktur lukisan cadas Orang Maluku. Studi literatur menjadi acuan utama penelitian tersebut, dengan mengutamakan data terdahulu dan kini. Dari hasil penelitian membuktikan bahwa tinggalan arkeologis lukisan cadas telah memberikan kontribusi makna bagi sosial budaya Orang Maluku, diantaranya makna identitas, peradaban dan pluralitas atau kemajemukan.
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Ling, Xiao Ming, Duo Wang Fan, and De Wen Li. "Design and Implementation of High-Voltage Plasma Cleaning Technology for Auto Lamps." Advanced Materials Research 472-475 (February 2012): 274–77. http://dx.doi.org/10.4028/www.scientific.net/amr.472-475.274.
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In order to solve the problems of environment pollution and human resource consumption in traditional wet cleaning process in auto lamps production, a high-voltage Plasma Cleaning Technology (PCT) is presented in this paper. The plasma cleaning system, high voltage AC power and control strategy are realized to develop the plasma cleaning industrial equipment which is used for surface cleaning and activation to promote adhesion between basement and base painting of auto lamps, and the configuration and operation rules are analyzed in detail. According to the established gas discharge model, the PID fuzzy control strategy is achieved to complete automatic control of technology process. The experimental parameters, such as electrical field, gas pressure, and some random factors, are discussed in terms of the curves from practical data. The results show that this design and implementation are feasible in industrial production. After the treatment of PCT to the surface of auto lamps within the automatic equipment, the adhesion between the base material and base painting films is enhanced to a great extent, and the quality and passing rate of production has been greatly improved.
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Howard, Mickey, Joe Miemczyk, and Andrew Graves. "A strategic approach towards integrating automotive painting for building-to-order." International Journal of Automotive Technology and Management 5, no. 1 (2005): 1. http://dx.doi.org/10.1504/ijatm.2005.006876.
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Malkina, Victoria. "Landscape, Still Life, and Portrait as Titles of Poems." Slavic World in the Third Millennium 14, no. 1-2 (2019): 186–205. http://dx.doi.org/10.31168/2412-6446.2019.14.1-2.12.
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This paper is devoted to the problem of visual aspect in literature. We study one of the aspects of the visual in a lyrical poem: the representation of painting genres in the titles of the poems, as well as the interaction between the visual and the verbal in lyrical texts. The goal of the paper is to analyze the semantics of such a title and its influence on both the unfolding of the lyrical plot and the figurative system of the poem, also on the strategy of the perception of such text by a reader. To do this, we solve several problems. First of all, we define the concept of the visual in literature; the concepts of the visuality and the visualization are delimited. Secondly, we consider the main ways of representing of the visual in a lyrical text (taking into account the specifics of the lyric as a kind of literature): lyrical plot, image, compositional forms (a description, a dream, an ekphrasis), and allusions to the genres of painting. Thirdly, the importance of analyzing the title for a lyrical poem is justified. Finally, the most representative texts are analyzed from the specified point of view: we examine how the allusion to the painting is manifested in the title.The material of the paper is the number of poems by the Russian and the Polish poets of the nineteenth – twentieth centuries. Their titles coincide with the main genres of paintings, for example, “Landscape”, “Portrait” and “Still Life (nature morte)”. But at the same time, they are not considered to be ekphrasises. That means there is no any description of a real or imaginary picture there, but there is a recreation of the visual imaginative system by the verbal means; and the poems appeal to the reader's viewing experience. In particular, we analyze the poems of A. Maikov, I. Selvinsky, Y. Levitansky, B. Akhmadulina, L. Martynov, J. Przyboś, A. Pushkin, V. Khodasevich, D. Kedrin, Y. Hartwig, I. Brodsky, A. Svershchinskoy.
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Bai, Yong, and Leonhard E. Bernold. "Quality Control Parameters for Robotic Bridge Painting." Journal of Construction Engineering and Management 127, no. 2 (April 2001): 142–48. http://dx.doi.org/10.1061/(asce)0733-9364(2001)127:2(142).
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Chen, Chen. "Painterly focused Chinese ink animation: Seeing through the cultural lens of the Xiang system." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 141–64. http://dx.doi.org/10.1386/ap3_00009_1.
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Chinese ink animation has won worldwide respect for its ethereal and refined approach to ink painting. From the 1950s to 1980s, the Shanghai Animation Film Studio produced a number of award-winning ink animations. These animations share a unique traditional Chinese aesthetic based on Chinese literature and philosophy. However, the complex and long hand-made production process is one of the factors that caused the decline of Chinese ink animation following the 1980s. Since the millennium, three-dimensional ink modelling and digital painting technology have contributed to the revival of Chinese ink animation. This article summarizes the development of the production process of Chinese ink animation, together with its artistic features in both the analogue and digital age. Theoretically, this article focuses on a Chinese poetic framework, ‘the Xiang system’, as both a creative strategy for producing Chinese ink animation and an analytical lens to critique it.
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Serafim, Andreas. "MAKING THE AUDIENCE:EKPHRASISAND RHETORICAL STRATEGY IN DEMOSTHENES 18 AND 19." Classical Quarterly 65, no. 1 (April 2, 2015): 96–108. http://dx.doi.org/10.1017/s0009838814000901.
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In this paper, I intend to explore three examples ofekphrasis– narrative scene painting – in Demosthenes 18 and 19: the first is Demosthenes' depiction of the announcement in Athens of the capture of Elatea by Philip (18.169–73), while the second and third are descriptions of Aeschines' (allegedly) failed theatrical performances (18.262 and 19.337–8). Scholars have paid insufficient attention to these descriptive accounts: there have been a few limited discussions of 18.169 in commentaries but, otherwise, the use and purpose of these accounts as part of Demosthenes' rhetorical strategy have not been widely appreciated. This article aims to show thatekphrasis, when skilfully deployed as in Demosthenes 18 and 19, is a powerful weapon in the speaker's arsenal that merits thorough investigation. By instructing the audience as to what and how to think, imagine and remember, orators seek to engage the audience, elicit their verbal or non-verbal reaction in the law court, create a certain disposition in them towards the litigants, stir up and manipulate their emotions, and thus affect their verdict.
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Kosztyla, Robert, Srinivas Raman, Vitali Moiseenko, Stefan A. Reinsberg, Brian Toyota, and Alan Nichol. "Dose-painted volumetric modulated arc therapy of high-grade glioma using 3,4-dihydroxy-6-[18F]fluoro-L-phenylalanine positron emission tomography." British Journal of Radiology 92, no. 1099 (July 2019): 20180901. http://dx.doi.org/10.1259/bjr.20180901.
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Objective: To determine whether dose painting with volumetric modulated arc therapy for high-grade gliomas using 3,4-dihydroxy-6-[18F]fluoro-l-phenylalanine (18F-FDOPA) positron emission tomography (PET) could achieve dose-escalated coverage of biological target volumes (BTVs) without increasing the dose to cranial organs at risk (OARs). Methods: 10 patients with high-grade gliomas underwent CT, MRI, and 18F-FDOPA PET/CT images for post-operative radiation therapy planning. Two volumetric modulated arc therapy plans were retrospectively generated for each patient: a conventional plan with 60 Gy in 30 fractions to the planning target volume delineated on MRI and a dose-escalated plan with a maximum dose of 80 Gy in 30 fractions to BTVs. BTVs were created by thresholding 18F-FDOPA PET/CT uptake using a linear quadratic model that assumed tracer uptake was linearly related to tumour cell density. The maximum doses and equivalent uniform doses of OARs were compared. Results: The median volume of the planning target volume receiving at least 95% of the prescribed dose (V 95%) was 99.6% with and 99.5% without dose painting. The median V 95% was >99.2% for BTVs. The maximum doses and equivalent uniform doses to the OARs did not differ significantly between the conventional and dose-painted plans. Conclusion: Using commercially available treatment planning software, dose painting for high-grade gliomas was feasible with good BTV coverage and no significant change in the dose to OARs. Advances in knowledge: A novel treatment planning strategy was used to achieve dose painting for gliomas with BTVs obtained from 18F-FDOPA PET/CT using a radiobiological model.
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Chen, Yuhang. "Development and Implementation Strategy of Students’ concept Innovation in Chinese Painting Teaching Based on Big Data." Journal of Physics: Conference Series 1992, no. 4 (August 1, 2021): 042063. http://dx.doi.org/10.1088/1742-6596/1992/4/042063.
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Enyedi, Delia. "Voiceless Screams: Pictorialism as Narrative Strategy in Horror Silent Cinema." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 66–76. http://dx.doi.org/10.2478/ausfm-2021-0005.
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Abstract As a complementary condition to narrative, the notion of pictorialism in film is rooted in the first decades of the medium. In their quest to demonstrate the capturing and restoring of images with various devices, early filmmakers selected views with pictorial qualities in the long-standing tradition of painting, transferring them on film in the form of non-narrative shots. The evolution of fictional narratives in silent cinema displaced the source of inspiration in theatre, assimilating its nineteenth-century tradition of pictorialism. Thus, the film audiences’ appeal for visual pleasure was elevated with balanced elements of composition, framing and acting that resulted in pictorially represented moments actively engaged in the narrative system. The paper explores the notion of “pictorial spirit” (Valkola 2016) in relation to that of “monstration” (Gaudreault 2009) aiming to describe the narrative mechanism of provoking fear by means of pictorially constructed cinematic images in a selection of short-length horror silent films belonging to the transitional era, consisting in The Haunted House/The Witch House (La Maison ensorcelée/La casa encantada, Segundo de Chomón, 1908), Frankenstein (J. Searle Dawley, 1910) and the surviving fragments of The Portrait (Портрет, Vladislav Starevich, 1915).1
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Puppala, Narendra, and Sandip Sen. "Evolving Cooperative Groups Using Shared Memory." Journal of Advanced Computational Intelligence and Intelligent Informatics 3, no. 6 (December 20, 1999): 457–61. http://dx.doi.org/10.20965/jaciii.1999.p0457.
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We present a coevolutionary approach to generating behavioral strategies for cooperating agent groups. We coevolve agent behavior with genetic algorithms (GAs), where one GA population is evolved per individual in the cooperative group. Groups are evaluated by pairing strategies from each population and the best strategy pairs are stored together in shared memory. To evaluate a strategy from one population, it is paired sequentially with strategies from the other population stored in shared memory. The maximum evaluation from all such pairings is used to evaluate the strategy. A pair is stored in shared memory if we encounter at least one pair previously stored there with a lower fitness value. We evaluate our approach using an asymmetric room painting domain with two agents - a whitewasher and a painter. Shared memory proved superior to random pairing in consistently generating optimal behavior patterns.
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Webber, Cleber da Costa, Jorge Oneide Sausen, Kenny Basso, and Claudionor Guedes Laimer. "Remodelling the retail store for better sales performance." International Journal of Retail & Distribution Management 46, no. 11/12 (December 10, 2018): 1041–55. http://dx.doi.org/10.1108/ijrdm-08-2017-0162.
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PurposeThe purpose of this paper is to demonstrate the relationship between strategic remodelling of the retail store and the performance of companies in the retail sector.Design/methodology/approachThe method used was a quantitative and descriptive survey of 93 cases from a sample of 329 retail stores from three chains that had remodelled some of their retail stores.FindingsThe results showed that strategic remodelling improved the performance of the stores surveyed, demonstrating the importance of retail store management as a strategic resource that can improve performance and competitiveness. Applying the balanced scorecard (BSC) perspectives, the retail store strategies had a greater influence on the dimension of internal processes than on other dimensions. Specifically, lighting is the redesign strategy that provides the best performance result.Practical implicationsThe findings offer support to managers who are considering modifications to the retail store. Decisions about strategies related to external visual communication, internal layout, internal visual communication, fixtures, painting of the store, lighting, location of the store and visual merchandising can make a difference in the pursuit for better performance across a range of dimensions.Originality/valueThis paper contributes to both the retail strategy and marketing literature by evidencing the link between specific retail remodelling strategies and performance using the BSC dimensions.
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Janušaitis, Rolandas, and Rima Liubinskaitė. "BUILDING FACADE PAINTING COMPLEX PROCESS MULTICRITERIA EVALUATION/FASADŲ DAŽYMO DAUGIAKRITERINIS VERTINIMAS TINKLINIO MODELIO MAZGŲ „IŠPJOVIMO” IR SPRENDIMŲ DAUGIAPAKOPĖS SINTEZĖS METODAIS." JOURNAL OF CIVIL ENGINEERING AND MANAGEMENT 7, no. 6 (December 31, 2001): 468–73. http://dx.doi.org/10.3846/13921525.2001.10531774.
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Today there are many multicriteria evaluation methods used in building projects. They enable to make component (complex) evaluations of the task. Before a multicriteria evaluation of building facade complex process we develop a technological network model which represents technological systems and work performance variants graphically. We use technological network model junctions “cut” method for finding faster final result, for reducing alternative decisions number and facilitating calculations. This method permits to reject not irrational variants from calculations. Facade painting model consists of the following partial processes: surface preparing, priming, putting and painting. Making multicriteria decisions synthesis all these processes are interpreted as stages. It's necessary to determine the importance of each stage with respect to another stage (stage significance). To find stage significance it's possible to use expert, pair comparison methods, etc. Each stage consists of a certain number of alternatives. For comparison and evaluation of these alternatives, we produce a system of criteria (technical-economical indicators and qualitative characteristics). Using technological network junctions “cut” method, decision multistage synthesis method and carrying out multicriteria evaluation, it is possible to make a more precise alternative decisions analysis, evaluating the stage significance. This is very important for customers, contractors, projectors, etc.
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Tirtoni, Feri, and Cindy Cahyaning Astuti. "UKM "SOLAKIS HARJO" "SOUVENIR GELAS LUKIS KHAS SIDOARJO" (Glasspainting)." Jurnal Abadimas Adi Buana 1, no. 2 (October 1, 2017): 1–6. http://dx.doi.org/10.36456/abadimas.v1.i2.a936.
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In the plan of the implementation of community service activities entitled "Making Souvenir Products of Typical Painting Sidoarjo" the purpose set is through this activity will create a group of UKM Souvenir Gelas Painting Typical Sidoarjo In Sukodono Village, which will be spearheaded youth of youth from Partners 1 / Karang Taruna Group RT 05 RW 02 Desa Jumput Rejo Sukodono and Partners 2 / Karang Taruna Group RT 02 RW 01 Desa Jumput Rejo Sukodono which will firstly perform an improvement of the quality of human resources in youth group of youth at Partner 1 and Partner 2 so that they have skill production of terrarium souvenir as well as having the ability of management and marketing strategy of the product so that it can become independent entrepreneur candidate and can make the product as one of the local superior product of the kecamatan Taman especially. And the solution offered is by providing increased in Partners 1 and Partner 2 through several methods as follows : Method of socialization activities "approach and the provision of knowledge of the business prospects of production Souvenir Gelas Lukis Khas Sidoarjo, Method of workshop and training of production Souvenir Gelas Lukis Khas Sidoarjo, Method of workshop and management training marketing strategy of Souvenir Gelas Lukis Khas Sidoarjo, Method of controlling and developing UKM product Souvenir Gelas Lukis Khas Sidoarjo, Evaluation and program of quality control of UKM product Souvenir Gelas Lukis Khas Sidoarjo. It is expected that through this production skill training can increase the community's independence through local income to contribute to achieve community self-sufficiency through training and production skills Souvenir Gelas Lukis Khas Sidoarjo products to improve the local economy, especially karang taruna warga Desa Jumput Rejo residents who previously only status as students and students only and can open the opportunity to become a Prospective Entrepreneur reliable.
Keywords : UKM, Souvenir Gelas Lukis Khas Sidoarjo, Glass Painting
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Millstone, Erik, and Patrick Van Zwanenberg. "Mad Cow Disease — Painting Policy‐Making into a Corner." Journal of Risk Research 10, no. 5 (July 2007): 661–91. http://dx.doi.org/10.1080/13669870701270887.
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Kim, Junbeum, Kwangho Park, Yongwoo Hwang, and Ildo Park. "Sustainable manufacturing: a case study of the forklift painting process." International Journal of Production Research 48, no. 10 (April 24, 2009): 3061–78. http://dx.doi.org/10.1080/00207540902791785.
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Feshchenko, Vladimir. "Graphic Translation of Experimental Verse as a Strategy of Poetic Text’s Transcreation." Studia Metrica et Poetica 6, no. 1 (August 29, 2019): 94–115. http://dx.doi.org/10.12697/smp.2019.6.1.04.
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The article examines the problem of translating experimental poetic texts into other languages. The focus is on the transfer of verse’s spatial design between the source and the target languages. We analyze some cases of unconventional poetry translation with particular attention to verbal/visual properties of avant-garde poems. Stéphane Mallarmé’s, Guillaume Apollinaire’s, Augusto de Campos’ and Dmitry A. Prigov’s visual poetry provides examples of autographic (hand-written or hand-drawn) and allographic (typewritten or typeset) texts. The former, as we argue, are problematic for translation, just like pictures in painting, whereas the latter may be rendered in another language. The analysis of E. E. Cummings’ allographic experimental verse allows to propose a special strategy for translating this kind of texts. By analogy with ‘phonetic translation’, this strategy can be called ‘graphic translation’. This type of translation preserves the visual and metagraphemic forms of the original text, rearranging its lexical elements in translation. It specifically applies to visually-oriented avant-garde and experimental texts. Graphic translation ‘transcreates’ the text to a certain degree and this contributes to preserve and reinforce the experimental nature of avant-garde verse in languages other than its own.
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Lei, Zukang, Longyu Wan, and Ye Zhang. "Investigation, Diagnosis, Assessment and Conservation Strategy for a Wall Painting at Wudang Mountain Taoist Temple Using BIM Technology." Studies in Conservation 63, sup1 (August 2018): 377–80. http://dx.doi.org/10.1080/00393630.2018.1475050.
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Hatch, Mary Jo, and Dvora Yanow. "Methodology by Metaphor: Ways of Seeing in Painting and Research." Organization Studies 29, no. 1 (January 2008): 23–44. http://dx.doi.org/10.1177/0170840607086635.
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Scholars paint theoretical canvases, using words, without always making transparent the logic of inquiry embedded within their writing. This is especially so when writing for their own epistemic communities, whose members share a set of usually unspoken methodological presuppositions concerning the `reality status' of what they study and its `know-ability'. When research topics engage scholars across epistemic communities, as in organizational studies, arguments may be difficult to parse precisely because these presuppositions remain implicit, unnoted and, perhaps, unnoticed. By enabling new ways of seeing familiar things, metaphors can facilitate such encounters by making the implicit less so. We turn to painting to enable metaphoric understanding of methodological differences in organizational and other social science scholarship, drawing on examples from the organizational identity literature. Much as artists look at the world around them and render things on canvas using a range of techniques, so researchers use methods reflecting ontological and epistemological presuppositions about their research worlds. Contrasting Rembrandt with Pollock presents, through metaphor, our case for seeing differences between realists and interpretivists, whether they paint or do research.
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Purwanto, Antonius. "The opportunity structure, group characteristics, and strategy of ketok magic repair shops in Manado." Masyarakat, Kebudayaan dan Politik 34, no. 3 (August 28, 2021): 355. http://dx.doi.org/10.20473/mkp.v34i32021.355-366.
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The increase in internal migration has led to the emergence of ethnic minority migrant groups who work as entrepreneurs in various migration destinations in Indonesia. The migration that occurred in Manado shows that ethnic groups from certain regions form a unique group in the social network of repair shop owners and workers. This study aimed to describe the emergence and development of a ketok magic repair shop business in Manado which is owned by migrants from Blitar City, East Java. This study used a qualitative research method. Primary data were obtained from interviews and observations, while secondary data were obtained from literature studies. The results show that the opportunity structure in the form of requests for car repair and painting services as well as the ease of setting up a repair shop business has enabled the establishment of a number of ketok magic repair shops in Manado. Ethnic characteristics in the form of communities with high solidarity and strong social networks support repair shop activities well. This study concludes that community and social networks facilitate recruitment of workers and carry out repair shop promotion strategies because of high solidarity.
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Pittarello, Elide. "Ramón Gaya: "Creo que soy poeta pintando"." Monteagudo, no. 26 (March 12, 2021): 191–208. http://dx.doi.org/10.6018/monteagudo.472781.
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Simónides de Ceos, que definió la poesía una pintura que habla y la pintura una poesía muda, contribuyó al origen de la filosofía del arte, base de la moderna estética occidental. Para el filósofo italiano Benedetto Croce el arte es la síntesis estética de la intuición y la expresión a través del lenguaje lírico. Encarna las representaciones de la belleza, un evento universal, ajeno a la Historia y a la crítica de arte. De manera más radical, Ramón Gaya rechazó este mismo saber de una manera más radical desde que era un jovencísimo pintor, decepcionado por las vanguardias. Su planteamiento de la obra de arte se aproxima a una actitud mística. Emerge cuando se enfrenta a la pintura de Velázquez en España, antes de exiliarse en México. Este sentimiento trascendente se agudiza cuando visita Venecia por primera vez, en 1952, y asocia la pintura con el agua que fluye. Es el primer paso de su identificación sagrada de las artes –pintura, poesía, escultura y música– con la Naturaleza y sus elementos cosmológicos. La experiencia veneciana posibilita una nueva creatividad icónica y verbal. La pintura conlleva siempre una enigmática dualidad, manteniendo rasgos de su procedencia misteriosa. Los poemas que Ramón Gaya le dedica al Crepúsculo de Miguel Ángel son una muestra de su intermedialidad heterodoxa, donde a la técnica de lo diáfano en pintura corresponde el uso de la negación lógica por escrito. Esta estrategia lingüística es afín a la de los ensayos que tratan del mismo tema. Simonides of Ceos, who defined poetry as a speaking picture and painting a mute poetry, contributed to the rise of philosophy of art, the basis of modern Western aesthetics. For the Italian philosopher Benedetto Croce art is the aesthetic synthesis of intuition and expression through lyrical language. It embodies the representations of beauty, a universal event that doesn’t concern History nor art criticism. In a more radical way, Ramón Gaya refused this same knowledge since he was a very young painter, disappointed by avant-garde. His approach to works of art is close to a mystic attitude. It emerges when he faces Velázquez’s painting in Spain, before going into exile in Mexico. His transcendental feeling increases when he visits Venice for the first time, in 1952, and he associates painting with water flow. It is the first step of a sacred identification of arts –painting, poetry, sculpture and music– with nature and its cosmological elements. The Venetian experience gives birth to a new iconic and verbal creativity. Painting always involves an enigmatic duality, keeping features of its mysterious source. The poems that Ramón Gaya dedicated to Michelangelo's Dusk are a specimen of his unconventional intertermediality, where the diaphanous technique in painting corresponds to the use of logical negation in the verbal language. This linguistic strategy is in line with the essays dealing on the same topic.
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Pepenene, Limakatso, and Ntsele Radebe. "Retelling the history of Lesotho : an interplay between orality, painting and film in Kalosi Ramakhula’s works." Issue 1 1, no. 1 (June 12, 2018): 75–87. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a5.
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Kalosi Ramakhula is the producer of Moshoeshoe: The Mountain King Volumes 1, 2 and 3, a series of videofilms which narrate the history of Lesotho in the 19th century. His production emerges as a rewriting of history in a context where historical documentation is predominantly authored by historians and ethnographers who complement their research through oral resources. Ramakhula uses a unique approach which incorporates visual art by way of historical paintings created to accomplish a coherent mixture with the established print, sound and vision media of documentary cinema. He collaborates with contemporary Basotho artists commissioned to produce elaborate naturalistic paintings of historical significant characters, sites, events and social practices of the period being depicted. Through an exploration of the concepts of multimodality and intermediality, the article uses a semiotic analysis of selected paintings to examine the multiple layers of potential meanings communicated by the film-maker. We argue that Ramakhula’s retelling strategy explicitly creates a link with the experience of nation building in the past and the present. The paintings are a significantly expressive form of media in this regard, creating a consciousness of Bosotho-ness as the one concept that in principle remains constant despite transformation over the centuries. Ramakhula’s work is seen therefore, as having the potential to create space for negotiations around contemporary debates on nation building in Lesotho.
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Lou, Leon. "Artists’ Innocent Eye as Extended Proximal Mode of Vision." Art and Perception 6, no. 1 (May 19, 2018): 1–40. http://dx.doi.org/10.1163/22134913-00002100.
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The innocent eye, or seeing ‘what the eye sees’ is a meaningful expression many artists use to capture their experience in observational drawing and painting. However, a literal interpretation of the innocent eye does not comport with a science of vison focused on object perception. Nor is a two-step model involving a ‘bottom-up strategy’ a plausible account of the notion. Consistent with an emerging body of neuroscientific and psychophysical evidence for the pivotal role of attention in conscious vision, artists’ innocent eye is best construed as an extended proximal mode of vision involving focused attention on pictorial relationships in an identified object or scene. The innocent eye is open to creative expansion, made possible by a competency developed most likely in the early through middle childhood that underpins the visuocognitive skills for flexible deployment of attention, flexible representation, mental imagery and visual memory. The potential challenge from the rare cases of savant-talented artists, who seem to be able to access retinal images directly, is discussed and considered inconclusive. The proposed theoretical framework raises new questions for empirical investigations on the nature and development of the artists’ perceptual expertise, and has implications for science-based pedagogical approaches to drawing, painting, and creativity.
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Meiler, M., and H. Jaschke. "Lubrication of Aluminium Sheet Metal within the Automotive Industry." Advanced Materials Research 6-8 (May 2005): 551–58. http://dx.doi.org/10.4028/www.scientific.net/amr.6-8.551.
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The production of automotive body parts and panels is a very complex process, starting with the raw materials and ending in the paint shop. Due to the fact that aluminium sheet metal has to be lubricated before forming, all of the following processes have to be considered. Lubricants, such as oils, dry-film lubricants or recently introduced hotmelts have to protect the material’s surface, reduce friction whilst drawing the panels and should not compromise further treatments [1]. Different types of lubricants show different characteristics. This difference is especially noticeable when comparing liquid and dry-film lubricants. As dry-film lubricants do not run off the blanks’ surface and are distributed homogeneously, they show different tribological properties compared to conventional liquid lubricants. The effect on friction of aluminium sheet metal is shown through several basic experiments [2, 3]. In addition, the paper shows the effect of further operations within the production chain. The advantages and disadvantages not only for drawing, but also for assembly lines and the painting process are described in this paper. Assembly issues are carried out on stability testings of riveted and clinched assemblies. These trials show how the assembly process is affected by different proceedings. The fact that every car body has to be completely free of grease before painting, signifies the necessity to get lubrication off the car body’s surface before painting. The interactions between lubrication and paint shop are shown on typical process parameters. Most typical characteristics considering bonding and riveting were tested out on a hood assembly of the current BMW 7-series. In addition to that, experiences made in the press shop at BMW’s Dingolfing plant were figured out and carried over to a long-term strategy of pre-lubrication of aluminium sheet metal. This includes adhesive compatibility as well as the above mentioned assembly process.
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WANG, Wei. "Research on the “Double” Motive in the Novel Blueprint." Revista de Cercetare si Interventie Sociala 64 (March 6, 2019): 323–33. http://dx.doi.org/10.33788/rcis.64.24.
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The German female writer Charlotte Kerner has created a series of works on the theme of science and technology to explore the relationship between people and technology and nature. One of the most striking features of his work is the frequent appearance of the "double" motive. This phenomenon is most evident in the book Blueprint. This article explores the "double" motive in the novel Blueprint from the perspectives of "mother-daughter doubles" and "person-painting doubles". This paper analyzes the aesthetic effect of its performance, and then studies the relationship among the motive, the author's aesthetic strategy and the theme of the work. In addition, it is concluded that "double" is full of dialectical philosophy of opposition and unity. It not only highlights the author's aesthetic strategy of paying attention to the dual combination of character and dialectical movement in character shaping, which makes the character of the character more full and contradictory conflict more intense, but also endues the work with the depth of human nature.
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Chen, Yang, Yinsheng Li, Hong Guo, Yining Hu, Limin Luo, Xindao Yin, Jianping Gu, and Christine Toumoulin. "CT Metal Artifact Reduction Method Based on Improved Image Segmentation and Sinogram In-Painting." Mathematical Problems in Engineering 2012 (2012): 1–18. http://dx.doi.org/10.1155/2012/786281.
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The streak artifacts caused by metal implants degrade the image quality and limit the applications of CT imaging. The standard method used to reduce these metallic artifacts often consists of interpolating the missing projection data but the result is often a loss of image quality with additional artifacts in the whole image. This paper proposes a new strategy based on a three-stage process: (1) the application of a large-scale non local means filter (LS-NLM) to suppress the noise and enhance the original CT image, (2) the segmentation of metal artifacts and metallic objects using a mutual information maximized segmentation algorithm (MIMS), (3) a modified exemplar-based in-painting technique to restore the corrupted projection data in sinogram. The final corrected image is then obtained by merging the segmented metallic object image with the filtered back-projection (FBP) reconstructed image from the in-painted sinogram. Quantitative and qualitative experiments have been conducted on both a simulated phantom and clinical CT images and a comparative study has been led with Bal's algorithm that proposed a similar segmentation-based method.