Academic literature on the topic 'Tajik Small art works'
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Journal articles on the topic "Tajik Small art works"
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Avulova Nargiza Toxirovna. "Colors and their artistic image creation features." International Journal on Integrated Education 3, no. 10 (October 20, 2020): 251–54. http://dx.doi.org/10.31149/ijie.v3i10.747.
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Colors have long been used by artists as a means of depicting unique and beautiful landscapes, to ensure the attractiveness of speech, to create an artistic image in poetry. The colors are used in works of art, mainly in lyrical genres, reveals the appearance of inner experiences, emotions, beauty and creative influence. In poetry, such forms of art as allegory, allegory and irony are expressed through colors.Classical and modern Persian-Tajik poets skillfully used the means of color in their work, creating beautiful and unique images through their artistic potential. Nowadays, in Tajik literature, the properties of colors to create an artistic image have not been fully studied. This article describes the features of colors in lyric art and their role in poetry on the basis of concrete evidence from the poems of new Tajik poets.
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Ivannikova, Irina. "The Revival of Tajik Jewellery or The Birth of a Myth?" Oriental Courier, no. 1 (2022): 70. http://dx.doi.org/10.18254/s268684310021367-1.
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The paper focuses on the attempt made in the last decades of the Soviet government to revive the traditional jewelry art in Tajikistan. The state of traditional jewelry art in the republic during the years of Soviet power and, in particular, at the end of the third quarter of the 20th century, is assessed. The creative path of the artists who have become folk craftsmen is described as well as the philosophical concept of the ‘Three weddings’ created by them. It is, on the one hand, an experience of comprehending their artistic creativity, explaining the symbolism of a work of jewelry art, and, on the other hand, the application of this experience to various stages of a person’s life path. The connection between different groups of Tajik jewelry and age gradations that existed in the traditional Tajik society is explained. An interpretation of some symbols that are figurative, color, and numerological, which are used in the works of traditional jewelry art, is given. An essay written in the mid-1990s is incorporated in the paper, being the first exposition of the concept of the ‘Three Weddings’. It gives a description of different groups of traditional Tajik women’s jewelry — amulets, bracelets, necklaces, etc., described in parallel in their traditional and modern forms. It compares how traditional and modern jewelry created within the same jewelry tradition can be perceived.
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Karimova, Rukhayyo. "Restoration of Murals of the National Museum of Antiquities of Tajikistan." SHS Web of Conferences 50 (2018): 01233. http://dx.doi.org/10.1051/shsconf/20185001233.
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The paper analyses traditional and modern methods and technologies for preservation and restoration of wall paintings found through archaeological excavations in the Republic of Tajikistan. Medieval monuments such as the ancient Panjekent, Bundzhikat, Adzhina-Tepa and others gave a variety of works of pictorial art, including unique monumental paintings, the preservation of which presents a priority task for scientists, restorers and art experts. These artefacts are exposed in the State Hermitage Museum (St. Petersburg), the National Museum of Antiquities of Tajikistan, the Republican Museum of History and Local Lore of Rudaki in Penjikent and the National Museum of Tajikistan. The paintings portray diverse and interrelated household, mythological, religious and epic plots, battle scenes, scenes of feasts and hunting, as well as geometrical, vegetable, and zoomorphic motives. The study of these paintings helps scientists to study in detail the medieval history of Tajik people. Therefore, their preservation is the primary task of the corresponding experts. The paper is based on personal experience of the author in preservation and restoration of monumental paintings within international projects on preservation of cultural heritage of Tajik people.
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Shoalieva, Nargiza. "THE ESSENCE OF HUMAN IN BEDIL’S CREATION." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 09 (September 30, 2021): 110–16. http://dx.doi.org/10.37547/philological-crjps-02-09-24.
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Mirza Abdulkadir Bedil is a Persian-speaking poet, prose writer, philosopher and Indian thinker, very popular among the peoples of Central Asia and Afghanistan. In his work, Bedil analyzes the main part of the works of art and literature of Persian and Tajik poets from Rudaki to Jami and the literary and philosophical ideas of Sanayi, Attar, Jalaliddin Rumi and Ibn al-Arabi. The ancient philosophy of ancient Iran, Greece, India and Arabia laid the foundation for the development of literary and philosophical ideas, and as a result of relying on the achievements of the past, Mirza Bedil strengthened his philosophical thought.
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Kozhobekova, Gulbubu, and Abdyladzhan Akmataliev. "TUMENBAI BAYZAKOV’S PLACE IN THE ART OF TRANSLATION, CONNECTION WITH WORD LITERATURE THROUGH HIS TRANSLATIONS." Alatoo Academic Studies 24, no. 1 (March 30, 2024): 215–27. http://dx.doi.org/10.17015/aas.2024.241.20.
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This work deals with the translations of Tumenbay Bayzakov as a subject of research. The purpose of the research is to prove that the poet translated the works of each language not through Russian, but through his mother tongue, as a result of his knowledge of Russian, Tatar, Ukrainian, Tajik, and Uzbek languages, to reveal his connection with world literature, to establish the position of the poet in the art of translation, and what translations he has. is a study. Empirical method is used as a research method. As a result of the scientific research, T. Bayzakov's translation of the works of related peoples from the original is noted as a special feature, and his connection with world literature and his place in translation art are determined through his translations. The scientific value of the obtained results is that it is difficult to find a fault in terms of the development of the plot, the presentation of life details, the construction of the poem, whether it is a translation or his own works, and the translation activity of the poet, the Kyrgyzization of mostly Eastern poetry. talk about. He is a talented and professional poet who can meet the requirements of translation, who has mastered the secrets and edges of translation, and his translated works prove that he is a talented poet.
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Eshonqulov, Husniddin, and Dilorom Sodiqova. "Muslihabegim Miskin is a talented bilingual poetees during the literary period of the XIXthcentury in Bukhara." Golden scripts 3, no. 3 (September 10, 2021): 25–42. http://dx.doi.org/10.52773/tsuull.gold.2021.3/oudo2399.
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In this article, relying on our religious views formed over the centuries, the talented author wrote about her poetic and prose works on theological-mystical, social-political, spiritual-educational, moral-educational topics in Uzbek and Tajik languages. The article discusses the works of the poetess Muslihabegim Miskin. Having such a brilliant poet in the literary environment of Bukhara in the XIXth century is a unique and literary aesthetic phenomenon. The life and work of the poetess were hardly studied by literary critics of the last century, as she was brought up on the basis of Islamic faith and engaged in art in this spirit. Muslihabegim wrote in lyrical genres such as ghazal, mustazad, muhammas, musaddas, mustasne, muashshar, rubai, saqiynoma, fard, as well as poetry and prose. The poetess’s three indistinguishable divans have reached us, and a comparative study reveals Muslihabegim Miskin’s poetic legacy of more than ten thousand verses. The article focuses on the history of the study of the poetess's life and work, analyzes her poems, highlights some aspects of her life and work, and identifies her as a talented poetess.
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Shalem, Avinoam. "“What a Small World”: Interpreting Works of Art in the Age of Global Art History." Getty Research Journal 13 (January 1, 2021): 121–42. http://dx.doi.org/10.1086/713432.
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Adi, Sigit Purnomo. "PELATIHAN PEMBUATAN MINIPRINT DENGAN MENGGUNAKAN MEDIA TRIPLEK DI KOMUNITAS MAKMOER ART PROJECT SUKOHARJO." Abdi Seni 12, no. 1 (November 3, 2021): 45–50. http://dx.doi.org/10.33153/abdiseni.v12i1.3748.
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Abstract Miniprint is one of the print size formats in graphic arts that is not yet very popular in Indonesia. Miniprint format prints in small sizes both matrix and paper. Printing in small sizes is fun. Small format requires patience and technical skill in visualizing the artist's ideas and ideas. Considering that miniprints have many features apart from a small format, they can also be carried everywhere and can also be used as an aesthetic element or room decorator and have good selling power, encouraging the author to hold a workshop or training on making miniprints in the Makmoer Art Project Sukoharjo community. The selection of the training venue in the Makmoer Art Project Community is because this community is indeed engaged in the arts and humanity. A community that always provides free workshops to people in need. Community service methods, problem identification, training and mentoring, evaluation. The works produced in this training after completion are then framed in a minimalist way. The miniprints produced are small-sized works of graphic art, using a matrix of plywood. These works are used as aesthetic elements of the house or as room decoration. Works for the aesthetic element of the house are currently popular among the public so that they have a selling value and can be used as an alternative in entrepreneurship.
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Gentle, Paul, and Marco Giliberti. "Were valuable art works an economic form of money during the German Third Reich Period and its aftermath?" Public and Municipal Finance 6, no. 4 (December 20, 2017): 33–38. http://dx.doi.org/10.21511/pmf.06(4).2017.04.
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This examines the special use of art works as a store of value in Germany during the Third Reich era. Some Jews were able to buy their freedom, as the fascists closed in. Then as the Third Reich fell, some escaping fascists used art works to secure freedom outside of Germany. One of the characteristics of money is a store of value. When confidence in a currency is present, the more conventional form of money takes precedence. A respected, economic form of currency and coin has all three elements of money: medium of exchange, store of value and unit of account. This last trait is especially absent when using various art works as money, as there is no agreed upon unit of account with such different art. Furthermore, art works could not qualify as a medium of exchange, since only a very small amount of the population was involved in this way of dealing in art during the stressed times for the Third Reich.
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Bowen, Barbara C. "A Neglected Renaissance Art of Joking." Rhetorica 21, no. 3 (2003): 137–48. http://dx.doi.org/10.1525/rh.2003.21.3.137.
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This article proposes that we add to the small number of Renaissance works on the art of creating or using facetiae an almost unknown De arte iocandi by an almost unknown Mattheus Delius, who died young. The work is a poem in four books, in Ovidian elegiac couplets, obviously inspired by the De arte bibendi of Vincentius Obsopoeus; both works have been assumed to be paradoxical encomia but arein fact seriousalbeit playful compendia of rules. Delius is interested not in the rhetorical use of jokes as weapons, but in something very close to Erasmus's festivitas. The preface by Melanchthon almost qualifies as an independent art of joking, and together they add valuable information to our knowledge of Reformation wit.
Dissertations / Theses on the topic "Tajik Small art works"
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Clark, W. Andrew, Cher L. Cornett, and Peter M. Hriso. "Linking Art to Science: Digital Media as a Technology Translation Tool." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etsu-works/2524.
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Technology translation can be achieved through the blending of the sciences and arts in the form of digital imagery. Digital animation and video can be utilized to portray molecular events where the mechanism of action is known but the process occurs at a sub-microscopic level. There needs to be a strong collaboration between scientific advisors and digital artists when creating the animation such that the artistic interpretation of the molecular event conforms to the known and accepted confines of science. The finished animation may be used for information, education or persuasion as entrepreneurial biotechnical companies attempt to find markets, customers and investors interested in their inventions. Educational institutions with programs in the sciences, arts, digital media and medicine need to promote the interaction of students from these disciplines through cross-functional teams and courses. Solutions to problems developed by these teams tend to be broader and more comprehensive than more homogeneous teams.
Books on the topic "Tajik Small art works"
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Bossan, Enrico. Worlds: Contemporary artists from Kyrgyzstan, Tajikistan and Turkmenistan. Crocetta del Montello]: Antiga edizioni, 2016.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Gallery, Sligo Art. Íontas: Sixth small works art exhibition. Sligo: Sligo Art Gallery, 1995.
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Gallery, Sligo Art. Íontas: Second small works art exhibition. Sligo: Sligo Art Gallery, 1991.
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Gallery, Sligo Art. Íontas: Eigth small works art exhibition. Sligo: Sligo Art Gallery, 1997.
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Romanow, Joanna Kleinberg. Small. New York: Drawing Center, 2014.
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Íontas, (8th 1997 Sligo Ireland). Íontas eighth small works art exhibition, 1997. [Sligo]: Sligo Art Gallery, 1997.
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Íontas (7th 1996 Sligo, Ireland). Íontas seventh small works art exhibition 1996. [Sligo]: Sligo Art Gallery, 1996.
Find full textBook chapters on the topic "Tajik Small art works"
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Mehl, Margaret. "11. The World in Sendai." In Music and the Making of Modern Japan, 345–86. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0374.11.
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Chapter 11, ‘The World in Sendai’ investigates the types of ‘Western music’ that were actually performed in concerts in Sendai. This is the main theme of. Based on the programmes of local concerts between 1907 and 1921 published in the magazine Ongakukai (World of music), this chapter shows how local concerts, in which different groups came together to perform an eclectic repertoire to a mixed audience, helped transform the people of Sendai into members of a nation within a wider world of nations. The modern institution of the public concert represented a space where Japanese and foreigners met and played and listened to music that was being performed and heard worldwide. The repertoire included a wide range of genres and countries of origin. Together, this variety, and the locations, scenes, and stories evoked by the pieces reveal much that is obscured by the blanket term, ‘Western music’. Works from the narrow canon of the ‘great masters’ of European art music, in fact, represented only a small fraction of what was performed. For example, the programme of a concert in Sendai in February 1916 included the ‘Tipperary Song’, sung by a Japanese high school student. Published in 1912 and first recorded in 1914, the song evokes to this day the image of British Soldiers marching in the First World War. In fact, three months after the Sendai concert, in the naval battle of Jutland, 26 survivors of the wreck of the Tipperary were reportedly recognized and rescued, when they sang, ‘It’s a long, way...’ It is hard to beat this conjunction as an illustration of music’s power as a force of global integration.
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Philbrick, Ethan. "Introduction." In Group Works, 1–24. Fordham University Press, 2023. http://dx.doi.org/10.5422/fordham/9781531502690.003.0101.
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In the introduction, Philbrick sets up the conceptual and historical terrain of the book by offering three short essays on the group tuned to three different registers—group theory, group politics, and group art—before turning to archival traces of one visionary small group from the 1970s, the Combahee River Collective, and the resonance of their work in Cauleen Smith’s 2018 film Sojourner.
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Harold, James. "Wicked Artists." In Dangerous Art, 51–69. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197519769.003.0004.
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This chapter takes up the problem of immoral artists, as well as related questions, like immoral production. When an artist commits great crimes, some are tempted to treat the art itself as though it were also tainted. The question is whether this is the right thing to do. This chapter argues that the question can be approached in two ways. First, the chapter considers the possibility that works by bad artists are in themselves morally bad. It argues that this view is plausible in only a small number of cases. Second, the chapter considers the possibility that communities around bad artists are tainted by the artist’s bad actions. It defends this view against objections. The primary conclusion is that we should not, for the most part, think of works themselves as being moral or immoral because their creators are.
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De Zorzi, Giovanni. "La musica d'arte (maqom) tra Herat, Bukhara e Kashgar." In Eurasiatica. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-340-3/011.
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Central Asian Art music (maqom) transcends nowadays national borders and belongs to a larger musical area where Art music was (and still is) called maqām. After a discussion on the many meanings of such a term and on the theoretical works of the so called first Arab-Islamic musicology, the present paper moves to the key figure of systematist musicologist and composer ‘Abd ul-Qādir ibn Ghaybi Marāghī (1360?-1435), who lived part of his life in Herat: from there, through disciples and sons his work, he influenced maqām concept and practice both in the West, in the Ottoman lands, and in the East. In particular, from the 16th century, a musical tradition called Shash Maqom – which arrived to Uyghur’s six town oasis (altıshahr), where the musical tradition called On Ikki Muqam grew – flourished in the Uzbek/Tajik region once called by Greeks Transoxiana, between the cultural centres of Bukhara and Samarkand.
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"Batya Brutin, Holocaust Icons in Art: The Warsaw Ghetto Boy and Anne Frank. Berlin: Walter de Gruyter; Jerusalem: The Hebrew University Magnes Press, 2020. xvi + 213 pp." In No Small Matter, edited by Anat Helman, 283–85. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577301.003.0025.
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This chapter reflects on Batya Brutin's Holocaust Icons in Art: The Warsaw Ghetto Boy and Anne Frank (2020). This volume documents the engagement of artistic creativity with the photographs of the boy with raised hands in the Warsaw ghetto (1943) and those of Anne Frank. In the six chapters detailing the various ways in which artists from different cultures and countries integrated these iconic figures into their oeuvre, Brutin acquaints the reader with dozens of artists who, at some point in their artistic development, opted to “express their thoughts, emotions and perceptions of the Holocaust.” These artists' works touch on various themes elaborated upon by Brutin: the fate of Jewish children in the Holocaust; personal identification with the iconic figures; their use to represent Jewish identity and universal human situations; their uniqueness; their imaginative connection with the state of Israel; and their “facelessness,” “disappearance,” and “disintegration.” Thus, the photographs have been used for decades by artists to perform a function in their art.
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Lipps, Jere H., Ajit Vartak, Ton Van Eijden, C. Rajshekhar, Sudha Vaddadi, and Rohit Vartak. "Paleontological postage stamps in art and education." In The Evolution of Paleontological Art. Geological Society of America, 2022. http://dx.doi.org/10.1130/2021.1218(25).
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ABSTRACT Postage stamps are small works of art seen by people worldwide that can be used effectively in education. The first paleontological stamp was released by India in 1951. Since then, over 4000 stamps with fossils, paleontologists, museums, and collecting sites have been issued by almost 200 countries. Stamps that illustrate fossils or reconstructions are intrinsically interesting and popular with many of the millions of stamp collectors. All disciplines of paleontology are represented, but dinosaurs are by far the most common subject, although even bacteria appear on a few stamps. Most of the stamps were scientifically accurate at the time they were issued though some artists took artistic liberties to fashion unique stamps. Overall, the stamps are artistic and educational because their small sizes and low cost make them easily accessible for classroom activities, exhibits, and presentations. They cover topics such as biodiversity, geology, ecology, oceanography, and evolution, among others. Paleophilately has provided art, education, joy, and happiness to people worldwide.
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Cleempoel, Koenraad Van. "Representations of astrolabes in Western art." In Astrolabes At Greenwich, 99–112. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780198530695.003.0009.
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Abstract The relatively infrequent depiction of astrolabes in works of art seems disproportionately small in relation to the large amount of instruments that have survived and to the high number of contemporary treatises that discuss the astrolabe. In comparison, its three-dimensional counterparts – the armillary sphere, and the celestial and the terrestrial globe – have experienced wider acclaim from artists throughout the ages. The immediate ornamental and didactic appeal of these other instruments may be responsible for this trend. But also, in a broader sense, the image of the globe and the armillary sphere became a popular visual metaphor for disciplines such as geometry and astronomy, where they are still used until the present day.
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Rodowick, D. N. "The Force of Small Gestures." In Indefinite Visions. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407120.003.0012.
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In The Logic of Sensation, Gilles Deleuze describes sensation as a domain that lies beneath, over, or inside quotidian vision as if in another dimension of intensive qualitative experience masked by habitual perception. Sensation is also a way of grasping the immanence of philosophy to works of art. The logic of sensation is part and parcel of our world as lived; one might say that sensation is immanent to perceptual experience as force is immanent to matter. In Deleuze’s account of sensation, the plastic arts are less concerned with matter and figuration than they are with force and becoming. Perhaps the problem for both painting and cinema is how to see time and force differently, and to release the figural force of sensation in the image. The chapter continues by investigating the logic of sensation in recent experimental video, primarily Ernie Gehr’s Glider (2001), but also two of the author’s own recent artworks, Waterloo and Plato’s Phaedrus. The chapter concludes with an account of Henri Bergson’s lecture on philosophical intuition to argue that there is a continuous dynamic line that runs between intuition and philosophy, Image and Concept
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Fabrizi, Elisabetta. "From Exodus to Small Axe : Steve McQueen’s Filmic World of Two Halves." In ReFocus: The Films of Steve McQueen, 17–29. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399510936.003.0002.
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Traces how McQueen cemented his position in the art world early in his career and forged a springboard from which he could experiment with feature filmmaking. Analyses how creating the conditions for viewers to become aware of their own presence is at the core of McQueen’s oeuvre, in both his feature films and his gallery works.
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Tilmouth, Michael, David Kimbell, and Roger Savage. "Frederick Septimus Kelly Serenade For Flute And Small Orchestra, Op. 7." In The Classics of Music, 124–25. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0015.
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Abstract Commander F. S. Kelly, DSC, RNVR, left but a small collection of compositions to represent him as a musician.1 Those who have known him, and watched the steady irresistible growth of his mastery of life, will always be convinced that music, which was his central means of expression, was an art in which he was sure to achieve something unique and complete. The two works produced on this occasion can do no more than indicate the beginnings of what was, in process of expression, restrained only because it was all comprehending. With him there was a time for everything. His duty towards music did not distract him from his duty towards life, nor did life distract him from music.
Conference papers on the topic "Tajik Small art works"
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Sharifi, Daler, and Alla Aslitdinova. "INTRODUCTION AND USE OF MODERN EDUCATIONAL TECHNOLOGIES IN EDUCATION IN THE REPUBLIC OF TAJIKISTAN." In eLSE 2019. Carol I National Defence University Publishing House, 2019. http://dx.doi.org/10.12753/2066-026x-19-151.
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The changing socio-economic situation in the modern world has led to the need to modernize the education, rethink theoretical approaches and the accumulated practice of educational institutions in the Republic of Tajikistan. The main direction of the strategic development of Tajikistan in modern conditions is comprehensive modernization, the key prerequisite of which is the presence of social actors with innovative potential and opportunities for its implementation. Creating a solid base for the successful development of modernization processes is impossible without the participation of the higher education system in this process. Modern information technologies are actively being introduced into the educational process in the Republic of Tajikistan. Educational institutions are equipped with a variety of network equipment and computer equipment, allowing them to integrate into the worldwide Internet. All this has changed the distance learning and made it really effective in the modern world. The proliferation of "fast Internet" made it possible to use audio and video broadcasting, audio and video conferencing, online conferences, webcasts, as well as online simulators and game managers that simulate learning processes that give basic management skills to both a small company and large. Today there is no need to prove that the twenty-first century, admittedly, is becoming the century of globalization and the erasure of borders, information and communication technologies and the Internet. Modern society is involved in the general historical process, called "informatization". Tajikistan is creating the prerequisites for the development of distance learning, creating bases for the development of multimedia lessons and video lessons, the opportunity for videoconferencing, a number of projects being implemented. Currently, already some higher educational and scientific institutions of the country are connected to the educational portal and the Internet, which allows introducing into the educational process methods of distance learning, a wide range of information and communication services for students. The Republic of Tajikistan has set itself the goal - to create the necessary opportunities and conditions for our children to grow up fully and harmoniously developed people with the most modern intellectual knowledge, people who fully meet the requirements of the XXI century in which they will live and work. Dr. Alla Aslitdinova Tajik National University Associate academician of the International Informatization Academy, European project bureau. Republic of Tajikistan, Dushanbe, Rudaki Avenue 17. aslitdinovaalla@mail.ru Daler Sharifi Tajik National University, Ph.D candidate, Department of International Relations. Republic of Tajikistan, Dushanbe, Rudaki Avenue 17. dalersharifi@gmail.com
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Fujarra, André L. C., Guilherme F. Rosetti, Jaap de Wilde, and Rodolfo T. Gonçalves. "State-of-Art on Vortex-Induced Motion: A Comprehensive Survey After More Than One Decade of Experimental Investigation." In ASME 2012 31st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/omae2012-83561.
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After one decade of experimental investigation, the Vortex-Induced Motion – VIM phenomenon deserves a comprehensive survey concerning the advances related to its understanding, mainly under the consideration of the fundamental aspects that keep it in a close relationship to the dynamic behavior of the same phenomenon acting on slender bodies, the well known Vortex-Induced Vibration – VIV. A considerable amount of results can be found in the literature, although there are few works dealing with a general view of the problem. Probably, the main reason for such a large amount of works with no interaction between themselves and, consequently, without a common understanding about VIM might be due to its technological origin, featured by huge platforms with a variety of geometrical details, which ends up placing the researches more on the field of the faithful reproduction of the features in small-scale and less on the global understanding of the phenomenology regardless the floating system, e.g. a spar platform, a monocolumn or even a semi-submersible or a tension-leg platform. Obviously, no one should disagree that there is part of the research that must keep a faithful relationship with the full scale, however, in most of them it is possible to identify the common fundamentals concerning the fluid-structural interaction. The aim of the present work is to address a comprehensive evaluation of the experimental investigations during the past decade on the VIM, trying to gather a general understanding about its phenomenology including some comparisons to VIV. As a result, some relevant aspects are pointed out for a more prospective way of research.
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Некрасова-Каратеева, О. Л., and Е. П. Сталинская. "AUTHOR’S SOUVENIRS BY CERAMIST VYACHESLAV SHVETSOV." In Образ, знак и символ сувенира. Материалы IX Всероссийской национальной научно-практической конференции. Crossref, 2023. http://dx.doi.org/10.54874/9785605054283_136.
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В статье представлены материалы о творчестве художника-керамиста В. А. Швецова — о создании авторских произведений в разряде минискульптуры, характеризующихся особой темой «Воспоминания» и реализуемых в качестве оригинальных сувениров. Целью статьи является попытка расширить содержательный аспект функции сувениров за счет уникальных художественных произведений небольшого формата, создаваемых и ориентированных на личные воспоминания и сопереживания многих людей. Темы авторских скульптурных мини-композиций В. Швецова: сельская природа (лес, река, радуга); деревенская тематика детства художника; темы материнства, любви («Двое»), Петербурга («Петербургские настроения», «Белые ночи»). Исполненные искренно, душевно, они вызывают у зрителей соучастие, приятные ассоциации и личные воспоминания. Исследование обладает новизной, т. к. материалы его оригинальны и предлагаются к публикации впервые, продолжая ряд представленных на предыдущих конференциях примеров авторских сувениров (2020 — «Авторская серия деревянных скульптурных композиций “арт-сувенир”»; 2021 — «Авторские новогодние картинки К. О. Почтенной как уникальные сувениры»; 2022 — «Ялтинский пейзаж как авторский видовой сувенир»). Результаты и методы исследования этой статьи могут быть полезны в искусствоведении для применения анализа конкретных явлений в культуре и искусстве, новых жанровых образований. The article presents materials about the work of the ceramist artist V. A. Shvetsov – about the creation of author’s works in the category of minisculpture, characterized by a special theme “Memories” and implemented as original souvenirs. The goal of the article is an attempt to expand the content aspect of the function of souvenirs due to the unique artistic works of small format, created and oriented to personal memories and empathy of many people. The themes of the author’s sculptural mini-compositions by V. Shvetsov: rural nature (forest, river, rainbow); village themes from the artist’s childhood; themes of motherhood, love (“Two”), Petersburg (“Petersburg moods”, “White Nights”). Performed sincerely, soulfully, the works evoke in the audience emotional response from the audience, as well as pleasant associations and personal memories. The study has a novelty as its materials are original and are offered for publication for the first time, continuing a number of examples of author’s souvenirs presented at previous conferences (2020 – “Author’s series of the Art Souvenir wooden sculpture compositions”; 2021 – “Author’s New Year pictures by K. O. Pochtennaya as unique souvenirs”; 2022 – “Yalta landscape as author’s souvenir with a view”). The results and methods of the study can be useful in art criticism for the analysis of specific phenomena in culture and art, as well as new genre formations.
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Marquis, Fabien. "Inductors and Coils New Production Solutions using Additive Manufacturing such as EBM 3D Printing and Precision Casting—A Presentation of the Current State-of-the-Art Technologies." In HT 2017. ASM International, 2017. http://dx.doi.org/10.31399/asm.cp.ht2017p0236.
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Abstract In induction heating process, coils and inductors are the core of the heating process. They are the end tool where the magnetic process affecting the part or material to be heated occurs. For more than a century, the dominant manufacturing process has been based, mainly, upon joining technologies where the coppersmith skill has been the safeguard of the quality. Use of fixtures, mandrels, and machined parts have improved the repeatability and quality of the produced elements but high volume, dimensional repeatability has always been source of problems. GH Induction continuously works on the improvement of such relatively artisanal methods to allow better lifetime, minimized production time and overall better quality. Following a first development work bringing a patented innovation in 2011 using a precision casting solution (Microfusion – Wax casting), with a solution provided a single piece coil, GH Induction has, after 2 years of development, patented a new additive manufacturing solution (3D printing concept) based on the use of Electron Beam Melting (EBM). The EBM solution benefits from the latest technology in additive manufacturing, both technologies present tremendous advantages for the designer and user. Complex shape, very small inductors can be manufactured, which are impossible to do with standard method. This presentation and article summarized the concept, manufacturing principle and technical benefits that the final users can have using such innovative solutions.
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Mortensen Steagall, Marcos, and Sergio Nesteriuk Gallo. "LINK 2021 3rd International Conference on Practice-led research in Art and Design: Forward." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.174.
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The LINK conference emerged from reflections and concerns that we always had about our own actions as educators, researchers, and practitioners in the field of Art and Design. Over the years, we have noticed that such concerns have not disappeared. On the contrary: they have multiplied, diversified, and become more complex. The more we dialogued with people worldwide, especially from the socalled “Global South”, the more we realised that these same issues were also dear to our colleagues, albeit with their own colours and contours. This is the LINK that unites us. The first step was taken as a small in-person event for guests, held in 2019 at the AUT’s South Campus in Manukau. At that time, there was no intention of organising an annual conference. The magnitude of the issues raised seemed to have a particular inhibiting effect on the incompleteness of the conference itself, considering the potential for the rich and fruitful exchange of ideas. Despite, or perhaps precisely because of the difficulties and adversities, this new scenario compelled us to move forward. The second edition of LINK, carried out in a hybrid way in 2020, expanded the quantity, diversity and quality of the works presented. Emerging themes, new epistemologies, and the multiple relationships between theory and practice (if such a distinction can be made) have consolidated as a sort of amalgam of LINK’s main issues. It covers, in a transversal and interdisciplinary way, arguably the entire field of Arts and Design. These discussions expanded beyond the event, and a special issue with 13 articles was published in the DAT Journal in 2021. At this moment, our doubts and uncertainties gave way to the commitment to promote a better event in each new edition. Furthermore, this commitment is only possible thanks to a team that is both dedicated and passionate about this purpose that unites us. Later that year, the Covid-19 pandemic began to spread across the world. In a short time, uncertainty gave way to millions of people’s anguish, suffering, and pain. At the same time, many ideas, beliefs, and values are starting to be reconsidered, bringing new challenges for a new era. Science, the construction of knowledge, and the University itself have a paradigmatic role in this moment of transformation and the search for the construction of a better world. Research changes the world. LINK’s community is constated by researchers to leverage parameters to activate different ways in which practice can create knowledge. They are based on cultural, geographic, and ideological positions shaped by the communitarian and the glocal. Thus, in offering these practice-oriented research considerations, we propose that we can learn “from” rather than “about”. This feeling emanates from recognising that the peculiar stories that generate social and artistic practices form dialogic encounters with voices on the periphery of authority and loop an iterative process to generate their own theoretical foundations.
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Zhao, Xin, Liufang Sang, Guiguang Ding, Yuchen Guo, and Xiaoming Jin. "Grouping Attribute Recognition for Pedestrian with Joint Recurrent Learning." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/441.
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Pedestrian attributes recognition is to predict attribute labels of pedestrian from surveillance images, which is a very challenging task for computer vision due to poor imaging quality and small training dataset. It is observed that semantic pedestrian attributes to be recognised tend to show semantic or visual spatial correlation. Attributes can be grouped by the correlation while previous works mostly ignore this phenomenon. Inspired by Recurrent Neural Network (RNN)'s super capability of learning context correlations, this paper proposes an end-to-end Grouping Recurrent Learning (GRL) model that takes advantage of the intra-group mutual exclusion and inter-group correlation to improve the performance of pedestrian attribute recognition. Our GRL method starts with the detection of precise body region via Body Region Proposal followed by feature extraction from detected regions. These features, along with the semantic groups, are fed into RNN for recurrent grouping attribute recognition, where intra group correlations can be learned. Extensive empirical evidence shows that our GRL model achieves state-of-the-art results, based on pedestrian attribute datasets, i.e. standard PETA and RAP datasets.
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Li, Haoming, Xinzhuo Lin, Yang Zhou, Xiang Li, Yuchi Huo, Jiming Chen, and Qi Ye. "Contact2Grasp: 3D Grasp Synthesis via Hand-Object Contact Constraint." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/117.
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3D grasp synthesis generates grasping poses given an input object. Existing works tackle the problem by learning a direct mapping from objects to the distributions of grasping poses. However, because the physical contact is sensitive to small changes in pose, the high-nonlinear mapping between 3D object representation to valid poses is considerably non-smooth, leading to poor generation efficiency and restricted generality. To tackle the challenge, we introduce an intermediate variable for grasp contact areas to constrain the grasp generation; in other words, we factorize the mapping into two sequential stages by assuming that grasping poses are fully constrained given contact maps: 1) we first learn contact map distributions to generate the potential contact maps for grasps; 2) then learn a mapping from the contact maps to the grasping poses. Further, we propose a penetration-aware optimization with the generated contacts as a consistency constraint for grasp refinement. Extensive validations on two public datasets show that our method outperforms state-of-the-art methods regarding grasp generation on various metrics.
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Meleško, Jaroslav. "ROBUST AUGMENTED REALITY SYSTEM." In Inžinerinė grafika ir projektavimas. Informacinių technologijų sauga ir informacinės sistemos. VGTU Technika, 2016. http://dx.doi.org/10.3846/itsis.2016.09.
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I developed an augmented reality system based on Hough transform to transcend limitations of popular Augmented Reality libraries such as ArUco. The purpose of the system is to project a digital image on to a real canvas, merging digital and traditional artistic media for ease of art production and practice. The technological challenges were identified in fiducial marker based prototype and overcome in the Hough transform based system are as follows: need for a printed marker, imprecision and weakness to occlusion. The developed software based on Hough transform works with any standard sheet of paper (A4, A3 formats). The system projects a photograph directly on to canvas or paper and automatically rotates and fits the image within the canvas. It is also resistant to occlusion, such as a hand on top of the canvas or canvas that is not fully within the frame. Resistance to small scale noise is achieved thought Hough transform and large occlusions are overcome by a line averaging algorithm. The software has shown 14% better performance than analogical ArUco library based software.
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Shi, Wei, Weihong Li, Bo Shi, Xueying Li, Jing Ren, and Hongde Jiang. "Uncertainty Quantification of Conjugate Heat Transfer of a Cooled Turbine Vane: Roughness Effect." In ASME Turbo Expo 2017: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/gt2017-63837.
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HP turbine usually works in complex operation conditions and subjects to strong temperature variability and thermal gradients. For these reasons, some small variations caused by manufacturing process and operation conditions will yield great effect on the heat transfer performance and the life of hot components. UQ is a state of the art that seeks to provide a framework for calculating the effects of input parameter uncertainty on model output variables. This study presents an investigation of the uncertainty quantification (UQ) of conjugate heat transfer of a typical high load HP cooled turbine vane, considering the influence of total inlet temperature, turbulence intensity and different surface roughness level. The non-intrusive Probabilistic Collocation Method, integrated with sparse grid quadrature has been used in the UQ analysis. The scaled sensitivity analysis is also carried out to assess the influence of each input uncertainty on the output response. The UQ analysis implies that the increasing of surface roughness will enlarge uncertainty of metal wall temperature. As a result, it needs to amplify the safety margin coefficient in order to assess the turbine guide vane surface temperature distribution and service life.
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Guo, Yuchen, Guiguang Ding, Jungong Han, Hang Shao, Xin Lou, and Qionghai Dai. "Zero-shot Learning with Many Classes by High-rank Deep Embedding Networks." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/337.
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Zero-shot learning (ZSL) is a recently emerging research topic which aims to build classification models for unseen classes with knowledge from auxiliary seen classes. Though many ZSL works have shown promising results on small-scale datasets by utilizing a bilinear compatibility function, the ZSL performance on large-scale datasets with many classes (say, ImageNet) is still unsatisfactory. We argue that the bilinear compatibility function is a low-rank approximation of the true compatibility function such that it is not expressive enough especially when there are a large number of classes because of the rank limitation. To address this issue, we propose a novel approach, termed as High-rank Deep Embedding Networks (GREEN), for ZSL with many classes. In particular, we propose a feature-dependent mixture of softmaxes as the image-class compatibility function, which is a simple extension of the bilinear compatibility function, but yields much better results. It utilizes a mixture of non-linear transformations with feature-dependent latent variables to approximate the true function in a high-rank way, which makes GREEN more expressive. Experiments on several datasets including ImageNet demonstrate GREEN significantly outperforms the state-of-the-art approaches.