Articles de revues : « ICONA »

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Maddelana, Giovanni. « Icona e diagramma ». Newsletter of the Society for the Advancement of American Philosophy 29, n^o 90 (2001) : 17–18. http://dx.doi.org/10.5840/saap2001299033.

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Caye, Véronique. « Vera Icona : poétique de l’image-scène ». L’Annuaire théâtral : Revue québécoise d’études théâtrales, n^o 63-64 (2018) : 167. http://dx.doi.org/10.7202/1067756ar.

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Attard, Adrian. « Maria persona relazionale : icona dell’antropologia trinitaria ». Teresianum 69, n^o 1 (janvier 2018) : 157–98. http://dx.doi.org/10.1484/j.ter.5.115782.

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Naumowicz, Cezary. « La famiglia come icona del mistero trinitario ». Teologia w Polsce 10, n^o 2 (25 mars 2020) : 79–96. http://dx.doi.org/10.31743/twp.2016.10.2.05.

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Nel recente magistero dei papi si trovano alcune affermazioni concernenti la correlazione teologica fra la Trinità e la famiglia umana. Il modello originario della famiglia deve essere ricercato nel mistero trinitario della vita di Dio. Il tema della famiglia come immagine della Trinità rappresenta una sfida per la riflessione teologica. Qual è il fondamento, la portata e i limiti di un’autentica analogia familiare della Trinità?

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De Giorgio, Renata. « Lucio Fontana : un artista che sarebbe piaciuto a Jung ? » STUDI JUNGHIANI, n^o 50 (janvier 2020) : 95–100. http://dx.doi.org/10.3280/jun2-2019oa8880.

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L'articolo indaga il valore e il senso complessivo della visione che Lucio Fontana, un artista-icona del XX secolo, propone dell'arte, dell'artista e dell'osservatore. Si evidenziano altresì i legami con la filosofia e la psicologia del profondo.

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GÜNDÜZOĞLU, Gökhan. « KIYI EGE BÖLÜMÜNDE EROZYON RİSKİNİN ICONA YÖNTEMİ İLE BELİRLENMESİ ». Journal of Academic Social Sciences 79, n^o 79 (1 janvier 2018) : 596–614. http://dx.doi.org/10.16992/asos.14217.

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Trottmann, Christian. « Le dépassement de toute représentation dans le De Icona ». Chôra 3 (2005) : 327–46. http://dx.doi.org/10.5840/chora2005/20063/417.

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REİS, Mahmut. « ICONA ve GIS Kullanılarak Erozyon Riskinin Değerlendirilmesi : Kahramanmaraş Örne ». Journal of Agricultural Faculty of Gaziosmanpasa University 34, n^o 2017-1 (1 janvier 2017) : 64–75. http://dx.doi.org/10.13002/jafag4208.

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Pace, Valentino. « Skulptura u grckom maniru na franackom Mediteranu - ikona Majke Bozije sa Detetom u manastiru Pohoda Marijinog u Trevizu ». Zbornik radova Vizantoloskog instituta, n^o 44 (2007) : 325–31. http://dx.doi.org/10.2298/zrvi0744325p.

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(italijanski) Il Monastero della Visitazione di Treviso conserva un?icona che vi e giunta da Venezia nel XVII secolo. Non si hanno informazioni sulla sua originaria provenienza o sul suo committente. Datata, da analisi al carboonio 14, effettuate durante il restauro, a un?eta assai alta, tra il 664 e l?886 essa e stata pubblicata di recente come opera bizantina di eta macedone venendo anche identificata con la Vergine 'Ikokyra' di Costantinopoli: In questo articolo si ritiene invece che l?icona sia un tipico prodotto della cultura 'franca' di area mediterranea: All?imitazione di normativi modelli bizantini si congiungono infatti espressioni formali originate in occidente e confrontabili con opere, fra le quali la pala di Santa Chiara ad Assisi tardoduecentesca, simile per l?impostazione spaziale della figura 'iconica' stretta fra le colonnette. Altri confronti di dettaglio confermano la plausibilita di una data duecentesca, comunque non ateriore al 1200 circa. Il suo luogo d?origine puo essere stato un centro mediterraneo di dominio 'franco' o veneziano, non potendosi tuttavia nemmeno escludere del tutto una sua esecuzione a Venezia stessa.

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DENGİZ, Orhan, Ali İMAMOĞLU, Fikret SAYGIN, Ceyhun GÖL, Semih EDİŞ et Ahmet DOĞAN. « SOIL EROSION RISK ASSESSMENT USING ICONA MODELLING FOR INEBOLU WATERSHED ». ANADOLU JOURNAL OF AGRICULTURAL SCIENCES 29, n^o 2 (22 juin 2014) : 136. http://dx.doi.org/10.7161/anajas.2014.29.2.136-142.

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Lazzarini, Ivana. « ICONA : la percezione dell'adozione da parte degli italiani, un progetto di ricerca nazionale ». MINORIGIUSTIZIA, n^o 1 (juillet 2021) : 198–207. http://dx.doi.org/10.3280/mg2021-001021.

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In questo articolo si presentano i risultati preliminari della ricerca ICONA - Italy and Current Opinion oN Adoption - realizzata da ItaliaAdozioni in collaborazione con il gruppo di ricerca nazionale sulle adozioni di minori. L'indagine ha lo scopo di comprendere che cosa pensano gli italiani dell'adozione e delle famiglie adottive. È stato somministrato un questionario a un campione rappresentativo della popolazione per analizzare la percezione rispetto a tre dimensioni strettamente coinvolte nella strutturazione di atteggiamenti positivi o negativi nei confronti dell'adozione: la conoscenza, la rappresentazione e la comunicazione mass mediale sui temi adottivi. I dati ottenuti hanno rilevato che la percezione dell'adozione è sostanzialmente positiva, a riprova della capacità di accoglienza e di affetto della popolazione italiana. ICONA ha messo in evidenza quanto l'informazione e la narrazione che si costruiscono attorno al mondo dell'adozione, possono fare la differenza e configurare nuove aperture. Dal punto di vista operativo, la promozione della narrazione dell'universo adottivo può quindi rappresentare un fattore chiave per contrastare le stereotipie e favorire una comunicazione sull'adozione aperta e rispettosa. Allo stesso tempo, occorre informare sull'istituto giuridico, in particolar modo l'adozione nazionale, perché la conoscenza non derivi unicamente dal racconto personale e particolare dell'esperienza adottiva.

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DUTAL, Hurem. « ORMAN YANGINLARININ TOPRAK EROZYON RİSKİ ÜZERİNDEKİ ETKİLERİNİN ICONA MODELİ KULLANILARAK BELİRLENMESİ : AYVALI BARAJ HAVZASI ÖRNEĞİ ». TURKISH JOURNAL OF FOREST SCIENCE 6, n^o 2 (31 octobre 2022) : 510–38. http://dx.doi.org/10.32328/turkjforsci.1167356.

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Barajlar birçok ülke için ekonomik kalkınmanın kritik bir bileşeni haline geldiğinden, baraj havzalarındaki toprak erozyonu çok önemli bir olgudur. Dolayısıyla, Akdeniz bölgesinde gerek orman yangınlarında gerekse şiddetli yağışlarda beklenen artış baraj havzaları için tehdit oluşturmaktadır. Bu iki olgudaki artış baraj havzalarında orman yangınları sonrası toprak erozyonunda ciddi bir artışa neden olacaktır. Bu nedenle orman yangınlarının toprak erozyonu riski üzerindeki olası etkilerinin ortaya konulması, baraj havzalarının yönetiminde proaktif önlemlerin alınması açısından son derece faydalı olacaktır. Bu bağlamda bu çalışma Ayvalı baraj havzasında toprak erozyonu riskini ortaya koymayı ve olası orman yangınlarının toprak erozyon riski üzerindeki etkisini belirlemeyi amaçlamaktadır. Çalışma alanındaki toprak erozyonu riskini belirlemek için ICONA modeli kullanılmıştır. Orman yangınlarının etkisi senaryo analizi ile belirlenmiştir. Orman yangını senaryosunda, çalışma alanındaki tüm ormanların yandığı varsayılmıştır. Bu senaryo dikkate alınarak ICONA modeli ile yeni bir toprak erozyonu risk haritası oluşturulmuştur. Daha sonra bu iki harita karşılaştırılmıştır. Sonuçlar, çalışma alanının %70,33'ünün çok yüksek erozyon riskine maruz kalırken, %21,65, %7,19, %0,77 ve %0,05'inin sırasıyla yüksek, orta, düşük ve çok düşük erozyon riskine maruz kaldığını göstermiştir. Çalışma alanındaki bu çok yüksek erozyon riski yüksek eğim, yüksek toprak aşınabilirliği ve seyrek bitki örtüsü yoğunluğundan kaynaklanmaktadır. Yangın senaryosu sonucunda çok yüksek riskli alanlar %18,11 artarken, yüksek, orta, düşük ve çok düşük riskli alanların sırasıyla %48,55, %26,36, %35,43 ve %100 azaldığı tespit edilmiştir. Elde edilen bulgular, orman yangınları öncesi ve sonrasında toprak erozyonu potansiyeline bağlı olarak gerekli önlemlerin önceliklendirilmesi konusunda karar vericilere yol gösterici olabilir.

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de Coca Leicher, José. « ARQUITECTURAS AMPLIADAS. EL PABELLÓN DE EXPOSICIONES EN LA CASA DE CAMPO DE MADRID ». Proyecto, Progreso, Arquitectura, n^o 24 (2021) : 106–25. http://dx.doi.org/10.12795/ppa.2021.i24.06.

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La reciente intervención en el pabellón de Exposiciones, antiguo pabellón del Ministerio de la Vivienda realizado en 1959 para la IV Feria Internacional del Campo por Francisco de Asís Cabrero y Jaime Ruiz, es un interesante ejemplo de estrategias para recuperar arquitecturas, en este caso del siglo XX, ampliando su uso y su vida útil mediante la adaptación de sus espacios interiores y exteriores a nuevas necesidades ciudadanas, exigencias de accesibilidad y de acondicionamiento climático. La reha-bilitación, dentro de los “usos compatibles” previstos en el Plan Especial vigente, es parte de la iniciativa Campus Asociativo de Madrid formada por cuatro pabellones: Exposiciones, Valencia, Icona I e Icona II. En ese contexto, analizaremos las estrategias de intervención y las operaciones realizadas, a partir del estudio del edificio original y relacionándolo con otras arquitecturas de referencia, entre otros, los edificios que Mies van der Rohe realizó en el campus del IIT, también restaurados y que inspiraron a Cabrero y Ruiz. Alimentamos el debate de la recuperación de edificios, en el que lo realizado enriquece los criterios al uso. Conclui-remos evidenciando el equilibrio entre la recuperación de la espacialidad, su construcción experimental y la transformación del uso expositivo en el nuevo uso representativo y administrativo de carácter permanente, pero reversible, en lo que consideramos una “arquitectura ampliada”

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Lee, Dorothy A. « Touching the Sacred Text : The Bible as Icon in Feminist Reading ». Pacifica : Australasian Theological Studies 11, n^o 3 (octobre 1998) : 249–64. http://dx.doi.org/10.1177/1030570x9801100302.

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This article proposes that the understanding of icons within Eastern Orthodoxy provides a model for feminist hermeneu tics in developing a poetics of sacred reading. The two major periods of icon dispute within church history are briefly reviewed (the icon controversies of the eighth and ninth centuries and the Protestant Reformation) and iconoclasm and iconophilia are discussed as competing yet ultimately complementary dynamics in theology. Christian feminism can acknowledge the value of both in understanding the place of the Bible avoiding either fundamentalist or expulsive readings of the text Icon-veneration has an important place, alongside iconoclasm (as distinct from icono-phobia), in developing a feminist biblical poetics.

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Sava, Giuseppe. « Icona artificiose depicta.François Perrier e la committenza di Giovanni Todeschini a roma ». Römische Historische Mitteilungen 52 (2010) : 199–230. http://dx.doi.org/10.1553/rhm52s199.

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Santini, Carlo. « Tanaquil vel Fortuna : una figura femminile nel percorso tra mito, testo e icona ». Giornale Italiano di Filologia 57, n^o 2 (novembre 2005) : 189–210. http://dx.doi.org/10.1484/j.gif.5.101979.

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Cuccio, Valentina, et Vittorio Gallese. « A Peircean account of concepts : grounding abstraction in phylogeny through a comparative neuroscientific perspective ». Philosophical Transactions of the Royal Society B : Biological Sciences 373, n^o 1752 (18 juin 2018) : 20170128. http://dx.doi.org/10.1098/rstb.2017.0128.

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The nature of concepts has always been a hotly debated topic in both philosophy and psychology and, more recently, also in cognitive neuroscience. Different accounts have been proposed of what concepts are. These accounts reflect deeply different conceptions of how the human mind works. In the last decades, two diametrically opposed theories of human cognition have been discussed and empirically investigated: the Computational Theory of Mind, on the one hand (Fodor 1983 The modularity of mind: an essay on faculty psychology ; Pylyshyn 1984 Computation and cognition: toward a foundation for cognitive science ), and Embodied Cognition (Barsalou 2008 Annu. Rev. Psychol. 59 , 617–645. ( doi:10.1146/annurev.psych.59.103006.093639 ); Gallese & Lakoff 2005 Cogn. Neuropsychol. 22 , 455–479 ( doi:10.1080/02643290442000310 ); Shapiro 2011 Embodied cognition ), on the other hand. The former proposes that concepts are abstract and amodal symbols in the language of thought, while the latter argues for the embodied nature of concepts that are conceived of as grounded in actions and perception. The embodiment of both concrete and abstract concepts has been challenged by many (e.g. Mahon & Caramazza 2008 J. Physiol. 102 , 59–70. ( doi:10.1016/j.jphysparis.2008.03.004 ); Caramazza et al . 2014 Annu. Rev. Neurosci. 37 , 1–15. ( doi:10.1146/annurev-neuro-071013-013950 )). These challenges will be here taken seriously and addressed from a comparative perspective. We will provide a phylogenetic and neurobiologically inspired account of the embodied nature of both abstract and concrete concepts. We will propose that, although differing in certain respect, they both might have a bodily foundation. Commonalities between abstract and concrete concepts will be explained by recurring to the Peircean notions of icon and abductive inference (CP 2.247). According to Peirce, icons are the kind of signs on which abductive inferences rest (Peirce CS 1931 in Collected papers of Charles S. Peirce, Hartshorne C, Weiss P, Burks AW. (eds), 40; Peirce CS 1997 In The 1903 Harvard lectures on pragmatism (ed. A. Turrisi)). It will be claimed that the mechanism of Embodied Simulation (Gallese & Sinigaglia 2011 Trends Cogn. Sci. 15 , 512–519. ( doi:10.1016/j.tics.2011.09.003 )) can be described as an icon (Cuccio V & Caruana F. 2015 Il corpo come icona. Abduzione, strumenti ed Embodied Simulation. Versus, n. 119, 93–103), and it will then be suggested that on these, basic natural signs rest, both phylogenetically and ontogenetically, the capacity to conceptualize. This article is part of the theme issue ‘Varieties of abstract concepts: development, use and representation in the brain’.

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Yalden, D. W. « LOS MURCIELAGOS DE ESPANA Y PORTUGAL. Edited by J . Benzal and O. de Paz. ICONA ». Mammal Review 22, n^o 3-4 (septembre 1992) : 206. http://dx.doi.org/10.1111/j.1365-2907.1992.tb00130.x.

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Girardi, E., M. Puoti, C. Mussini, A. Tavelli, I. Mastrorosa, F. C. Silberstein, G. Madeddu et al. « The hepatitis C continuum of care among HIV infected individuals in the Icona study network ». Journal of Hepatology 68 (avril 2018) : S178—S179. http://dx.doi.org/10.1016/s0168-8278(18)30568-3.

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Cingolani, Antonella, Stefano Zona, Enrico Girardi, Alessandro Cozzi Lepri, Laura Monno, Eugenia Quiros Roldan, Giovanni Guaraldi, Andrea Antinori, Antonella d'Arminio Monforte et Simone Marcotullio. « Increased incidence of sexually transmitted diseases in the recent years : data from the ICONA cohort ». Journal of the International AIDS Society 17 (novembre 2014) : 19653. http://dx.doi.org/10.7448/ias.17.4.19653.

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Aloisi, M. S., D. Serraino, E. Girardi, F. N. Lauria, A. D'Arminio Monforte, A. Cargnel, L. Bonazzi et al. « Sexual behaviour of women living with HIV/AIDS naïve for antiretroviral therapy : The ICONA-BEHEPI Study ». AIDS Care 12, n^o 6 (décembre 2000) : 789–95. http://dx.doi.org/10.1080/09540120020014336.

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Friedrich, Max, Dale Richards et Mark Vollrath. « Icon Design for Representing Safety-Critical Aircraft Functions to Support Supervisory Control of Remotely Piloted Aircraft Systems ». Aerospace 9, n^o 4 (25 mars 2022) : 181. http://dx.doi.org/10.3390/aerospace9040181.

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(1) Background: The transition from conventional to remote aircraft control will necessitate the development of novel human machine interfaces. When we consider the pilot interface, icons are traditionally used to associate meanings with functions on the flight deck, allowing the pilot to assimilate information effectively. Using established icon design principles, 18 icons, representing key safety-critical functions related to the operation of an aircraft, were designed for integration into a ground station. Pilots were then asked to evaluate these icons based on established icon characteristics. (2) Method: In an online questionnaire study, 29 pilots rated the icons on the icon characteristics of concreteness, complexity, familiarity, meaningfulness, and semantic distance. Alongside these metrics, concept and name agreement were captured for the icon set. (3) Results: Analysis indicated good icon-function fit overall. The findings show that emphasizing concreteness and familiarity improves icon-function fit, as long as the familiarity is directed at aviation-related artifacts. Further, concept agreement appears to be a better measure of icon-function fit in comparison to name agreement. (4) Conclusion: Most of the designed icons were well suited to represent their intended meaning. However, this study emphasizes the need for dedicated standardized icon characteristic norms for aviation systems.

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Nakata, Akiko, John L. Campbell et Joel B. Richman. « Driver Acceptance of General vs. Specific Icons for In-Vehicle Information ». Proceedings of the Human Factors and Ergonomics Society Annual Meeting 46, n^o 22 (septembre 2002) : 1799–803. http://dx.doi.org/10.1177/154193120204602205.

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This study compared driver acceptance of general icons to specific icons for In-Vehicle Information System (IVIS) devices. In the study, general and paired specific icons, along with two unrelated icons, were tested in both the general and specific driving scenarios. Subjects were asked to select: (1) one icon that most accurately described the driving scenario; and (2) one or more icons that would be acceptable for the driving scenario. The most accurate icon type selected by the subjects was strongly associated with the given scenario type, with the exception of collision avoidance. That is, when the driving scenario was described in general terms, subjects typically selected general icons as most accurately representing the scenario; when the driving scenario was described in specific terms, subjects typically selected specific icons as most accurately representing the scenario. In contrast to the icon accuracy, high acceptance levels were obtained for both general and specific icons regardless of the driving scenario description. Therefore, general icons are capable of meeting driver expectations and preferences for a broad range of IVIS messages. Recommendations for icon design are: (1) general icons should be used as long as they do not negatively impact driver acceptance or driver performance; and (2) for safety-related messages, specific icons will provide higher levels of driver acceptance than general icons.

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Lepri, Alessandro Cozzi, Andrew N. Phillips, Antonella d'Arminio Monforte, Francesco Castelli, Andrea Antinori, Andrea de Luca, Patrizio Pezzotti et al. « When to start highly active antiretroviral therapy in chronically HIV-infected patients : evidence from the ICONA study ». AIDS 15, n^o 8 (mai 2001) : 983–90. http://dx.doi.org/10.1097/00002030-200105250-00006.

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&NA;. « WHEN TO START HIGHLY ACTIVE ANTIRETROVIRAL THERAPY IN CHRONICALLY HIV-INFECTED PATIENTS : EVIDENCE FROM THE ICONA STUDY ». Infectious Diseases in Clinical Practice 10, n^o 5 (juin 2001) : 279. http://dx.doi.org/10.1097/00019048-200106000-00009.

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Paaver-Potashenko, Mari-Liis. « Иконное наследие Пимена Софронова в Шеветонском монастыре ». Acta Neophilologica 1, n^o XXIV (15 mai 2022) : 267–76. http://dx.doi.org/10.31648/an.7441.

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This article offers an art analysis of the collection of icons by the Estonian icon painter Pimen Sofronov housed in the Monastery of Chevetogne in Belgium. Sofronov’s icons found their way to this monastery in different ways. All of the seven icons were created in the 1930s, when he taught the orthodox icon painting and worked in various places in Europe and personally acquired an abundance of new knowledge. The author examines the development ofSofronov’s artistic language during these years and discusses the European artistic and cultural context of that time, which is essential to understanding his work. Despite his acquaintance with different cultures and traditions of icon painting, Sofronov remained true to his roots as can be seen in his icons in Chevetogne. Sofronov found his own way of developing and renewing the Old Believers’ icon painting tradition. This can also be perceived as a deeper understanding of the traditional Russian Old Believer icon painting.

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Reed, Jacob R., Susan A. Jasko et Jason C. Senkbeil. « Weather Forecast Semiotics : Public Interpretation of Common Weather Icons ». Weather, Climate, and Society 14, n^o 1 (janvier 2022) : 323–35. http://dx.doi.org/10.1175/wcas-d-21-0067.1.

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Abstract Weather icons are some of the most frequently used visual tools that meteorologists employ to communicate weather information. Previous research has shown a tendency for the public to make inferences about weather forecast information on the basis of the icon shown. For example, people may infer a higher likelihood of precipitation, assume a higher intensity of precipitation, or determine the duration of expected precipitation if the weather icon appears to show heavy rain. It is unknown to what extent these inferences align with what the meteorologist who chose the icon intended to convey. However, previous studies have used simulated weather icons rather than ones currently in use. The goal of our study was to explore how members of the public interpret actual weather icons they see on television or in mobile applications. An online survey distributed by broadcast meteorologists through social media was used to collect 6253 responses between August and September of 2020. Eleven weather icons currently used by broadcast meteorologists were included in the study. We also tested eight common weather phrases and asked people whether they thought the icons were good illustrators of those phrases. In addition, people were asked to assign a probability of precipitation to the icons. The findings of our study offer new and unique insights that will improve the communication of weather information by giving meteorologists information about how their audiences interpret weather icons. Significance Statement Millions of people are shown weather icons during daily weather broadcasts. This study used two approaches to determine whether these icons are effective elements of weather messaging. For the first approach, we showed people an icon alongside a common weather phrase and had them tell us whether the icon was a good illustrator of the weather phrase. The second approach involved showing people an icon and having them assign a probability of precipitation to it. Across eight weather phrases, none of the icons were thought to be good illustrators, but bad illustrators were clear. These results can be used to improve how icons are used as tools to communicate weather forecasts.

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Cannon, Mae Elise, et Kevin Vollrath. « Spiritual Synchronicity : Icon Veneration in Evangelical and Orthodox Religious Practices in the 21st Century ». Religions 12, n^o 7 (24 juin 2021) : 463. http://dx.doi.org/10.3390/rel12070463.

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Much scholarship in the dialogue between evangelical and Orthodox believers focuses on doctrinal compatibility. This article contributes to that literature by giving an example of a spiritual practice (icon veneration) that creates additional space for ecumenical dialogue and unity. Some US-evangelicals in the 21st century have incorporated the use of icons into their personal faith practices. Icon veneration is ripe with ecumenical potential for evangelical–Orthodox relations because of its prominence in Orthodox communions while at the same time appealing to a growing number of evangelicals. This article considers three sites of evangelical icon use in turn: the Evangelical Baptist Church of Georgia (EBCG), Icons of Black Saints, and an evangelical ministry called “Heart of the Artist”. Each site adopts a slightly unique understanding of icons that may appeal to evangelical believers. Although Orthodox and evangelical believers may understand theologies of icon veneration differently, the emergence of icon veneration among evangelicals remains a spiritual synchronicity, and ought to be recognized as such. Evangelicals continue to receive the gift of icon veneration from their Orthodox siblings in ways in line with the EBCG, Black Orthodox icons, and Heart of the Artist, so icon veneration has potential to further resource ecumenical dialogue.

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Meng, Nan, Jia Yang et Haibo Wang. « Icon Art Design with Generative Adversarial Network under Deep Learning ». Wireless Communications and Mobile Computing 2022 (6 septembre 2022) : 1–9. http://dx.doi.org/10.1155/2022/3499570.

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With the rapid development of the Internet, application interface design has undergone rapid changes. Numerous new design styles and resources have appeared; thus, a large number of interface icon design needs have been generated. Icons are quite different from ordinary photographed images, because they are all drawn by designers and have certain schematic and artistic features. Moreover, artistic icons can convey their drawn characteristics and meanings faster and better than captured images. The ideation process in icon design is time-consuming, and its design style and method of drawing are influenced by the device and the environment in which it is used. To simplify the process of icon design and enrich the creativity of icon conception, this study proposes to use the generative adversarial network technology in deep learning to train computers to generate artistic icons. This paper completes the construction of the icon generation model with generative adversarial network (GAN) model combined with the actual icon design process. For the problem of automatic icon generation, this paper does the following research work: (1) based on the conditional classification generative adversarial network, a multifeature icon generation model (MFIGM) is proposed. In the discriminator, a multifeature identification module is added to optimize the structure of the conditional feature to ensure that the icon generated by the model meets the given conditional feature. (2) Experiments on the icon dataset show that the MFIGM-based icon generation model proposed in this paper has better performance in designing various feature expressions of icons.

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Yin, Gui Xiang. « Moving Icons on Windows XP Desktop Efficiently, Exactly and Eliminating Icons Bounce after Releasing ». Advanced Materials Research 791-793 (septembre 2013) : 1699–703. http://dx.doi.org/10.4028/www.scientific.net/amr.791-793.1699.

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A icon can be located by its coordinates in the window by the windows coordinates system.A icon has its own coordinate system too.These two different coordinate systems must communicate properly and on time. Some important problem are discussed in the paper. They are about moving icon efficiently,exactly.Some people have noticed that moving icons on desktop under window XP is not efficient and exact. In the GUI environment,icons and pictures are frequently used and they represent many things,such as files,folders etc.In fact theses icons are associated with system resources.Controlling these resources efficiently is controlling the systems rescources efficiently in reality.This phenomenon mentioned previously is caused by some defaults in the development of Windows XP itself. Unenabling to smally move an icon on Windows XP screen efficiently and the icons bounce after releasing mouse are analyzed and studied in the paper. In VB 6.0 development environment the methods and skills of solving this problem are given, so icons dragging can be controlled efficiently and accurately. This idea is very useful and valuable generally for solving similar problems in Windows XP.

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Brems, Douglas J., et William B. Whitten. « Learning and Preference for Icon-Based Interface ». Proceedings of the Human Factors Society Annual Meeting 31, n^o 1 (septembre 1987) : 125–29. http://dx.doi.org/10.1177/154193128703100128.

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Icons, or graphic symbols, have recently become widely available as a means of human-computer interaction. The range of applications and interface styles that benefit from the use of icons have, however, not been extensively studied. This paper presents a case study of an interface in which some aspects seemed favorable for the use of icons, while other aspects seemed unfavorable. In such situations, interface decisions should benefit from testing learning and preference for possible icons. In this study, icons were easily learned, but verbal representations and labeled icons were preferred over unlabeled icons. These results underscore the idea that icon-based interfaces are not always preferred. Both “learning” and “preference” should be considered before implementing an icon-based interface for any new application.

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Sujoko, Sujoko, et Hafidz Erdinal Arrazy. « SEMIOTIKA LIRIK LAGU DALAM ALBUM LELAKU-FOURTWNTY KARYA ARI LESMANA (KAJIAN SEMIOTIKA) ». Aksara : Jurnal Ilmiah Pendidikan Bahasa dan Sastra Indonesia 3, n^o 1 (28 août 2019) : 87. http://dx.doi.org/10.33087/aksara.v3i1.102.

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The purpose of this research is to describe the semiotic of Lelaku Fourtwnty’s song lyric by Ari Lesmana. This research is descriptive qualitative. The primary data is in the form of lines which consist of semiotic icon and symbol in the song lyric of Lelaku Fourtwnty. The technique used in collecting the data is by using library study which focuses on analyzing semiotic icon and symbol in the lyric. The result of the analysis which is acquired from the song lyric of Fourtwnty by Ari Lesmana are; there are 4 icons and 2 symbols in the aspect of mild irritation, there are 4 icons and 3 symbols in the aspect of nature poem; there are 4 icons and 2 symbols in the aspect of black and white; there are 3 icons and 4 symbols in the aspect of pink blurry; there are 2 icons and 2 symbols in the aspect of self-calm; there are 2 icons and 2 symbols in the aspect of I am not an animal; there are 3 icons and 3 symbols in the aspect of tacit; there are 2 icons and 2 symbols in the aspect of dimension argumentation; and there are 3 icons and 2 symbols in the aspect of dawn discussion. Keywords: Analysis, Icon and Symbol, Song Lyric

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Violin, Michela, Rossella Velleca, Alessandro Cozzi-Lepri, Chiara Riva, Paolo Antonio Grossi, Giuseppe Carnevale, Giuliano Rizzardini et al. « Prevalence of HIV-1 Primary Drug Resistance in Seroconverters of the ICoNA Cohort Over the Period 1996???2001 ». JAIDS Journal of Acquired Immune Deficiency Syndromes 36, n^o 2 (juin 2004) : 761–64. http://dx.doi.org/10.1097/00126334-200406010-00017.

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Mondi, Annalisa, Alessandro Cozzi‐Lepri, Alessandro Tavelli, Stefano Rusconi, Francesca Vichi, Francesca Ceccherini‐Silberstein, Andrea Calcagno et al. « Effectiveness of dolutegravir‐based regimens as either first‐line or switch antiretroviral therapy : data from the Icona cohort ». Journal of the International AIDS Society 22, n^o 1 (janvier 2019) : e25227. http://dx.doi.org/10.1002/jia2.25227.

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HANSEN, LENE. « How images make world politics : International icons and the case of Abu Ghraib ». Review of International Studies 41, n^o 2 (2 septembre 2014) : 263–88. http://dx.doi.org/10.1017/s0260210514000199.

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AbstractThis article introduces international icons to the field of International Relations. International icons are freestanding images that are widely circulated, recognised, and emotionally responded to. International icons come in the form of foreign policy icons familiar to a specific domestic audience, regional icons, and global icons. Icons do not speak foreign policy in and of themselves rather their meaning is constituted in discourse. Images rise to the status of international icons in part through images that appropriate the icon itself, either in full or through inserting parts of the icon into new images. Appropriations might be used and read as critical interventions into foreign policy debates, but such readings should themselves be subjected to analysis. A three-tier analytical and methodological framework for studying international icons is presented and applied in a case study of the hooded prisoner widely claimed to be emblematic of the Abu Ghraib prison scandal.

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Yang, Hongyi, Chengqi Xue, Xiaoying Yang et Han Yang. « Icon Generation Based on Generative Adversarial Networks ». Applied Sciences 11, n^o 17 (26 août 2021) : 7890. http://dx.doi.org/10.3390/app11177890.

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Icon design is an important part of UI design, and a design task that designers often encounter. During the design process, it is important to highlight the function of icons themselves and avoid excessive similarity with similar icons, i.e., to have a certain degree of innovation and uniqueness. With the rapid development of deep learning technology, generative adversarial networks (GANs) can be used to assist designers in designing and updating icons. In this paper, we construct an icon dataset consisting of 8 icon categories, and introduce state-of-the-art research and training techniques including attention mechanism and spectral normalization based on the original StyleGAN. The results show that our model can effectively generate high-quality icons. In addition, based on the user study, we demonstrate that our generated icons can be useful to designers as design aids. Finally, we discuss the potential impacts and consider the prospects for future related research.

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Mariño Mexuto, Marta. « A navegante e a vaidosa : reescrituras de Penélope e Helena na literatura galega ». Revista Galega de Filoloxía 23 (27 décembre 2022) : 57–73. http://dx.doi.org/10.17979/rgf.2022.23.0.9111.

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Nos últimos tempos, as reescrituras mitolóxicas que tratan de introducir aspectos ideolóxicos opostos aos do mito tradicional son moi frecuentes. As reinterpretacións feministas son especialmente abundantes e, entre elas, a personaxe de Penélope resulta moi popular. Penélope ben se cansa de esperar por un Ulises en moitas ocasións mediocre, ben quere viaxar ela mesma ou opta por unha solución que non sacrifique a súa independencia. Mentres que Penélope se transforma en icona feminista, Helena de Troia, a personaxe que tradicionalmente representou o seu contrapunto, aínda non viu a súa imaxe rehabilitada. Neste aspecto, a literatura galega non é unha excepción: Penélope aparece na obra de autores relevantes, como Álvaro Cunqueiro, Xohana Torres ou mesmo Rosalía de Castro, que lle conceden un alto valor simbólico ou a transforman en dona do seu destino. Porén, as obras que inclúen a Helena son moito máis escasas e, nelas, a esposa de Menelao segue a representar a vaidade inextricablemente unida á beleza física.

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Rebinsky, G. A., E. S. Gamov, A. V. Martynova et S. B. Tonkovid. « Temple Art and Icon Painting at The Universities - the Spiritual Formation of Students in Russia ». International Journal of Engineering & ; Technology 7, n^o 3.5 (7 juillet 2018) : 54. http://dx.doi.org/10.14419/ijet.v7i3.5.15202.

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This article shows the results of the research of the term "icon". The importance of icons in the Orthodox Church is shown. The main aspects of the methodology of making icons, traditions and modern problems in church art are described. The main aspects of the methodology of making icons, traditions and modern problems in church art are described. Information on achievements in the field of icon painting at the Lipetsk State Technical University is adduced. (FSEI HE «LSTU»)

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Lin, Rungtai, et John G. Kreifeldt. « Understanding the Image Functions for Icon Design ». Proceedings of the Human Factors Society Annual Meeting 36, n^o 4 (octobre 1992) : 341–45. http://dx.doi.org/10.1177/154193129203600417.

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Because icons vary from very representational to extremely abstract symbols in a user interface, an important issue faced by designers when designing an icon is how to select an appropriate design style for the image. There are no simple rules that can be followed by designers to determine the design style. The present study is intended to help designers to choose a proper design style for the icon at an early design stage. First, a classification of icons is summarized and the levels of stylization are discussed and demonstrated with examples. Then, thirty icons from several drawing packages and generally used symbols are selected, and a matching test is conducted to obtain the correct matching rates. The results are presented with some explanations for icon recognition and confusion, and finally how to select the right image function for icon design is discussed.

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Passini, Stefano, Filiberto Strazzari et Annamaria Borghi. « Icon-function relationship in toolbar icons ». Displays 29, n^o 5 (décembre 2008) : 521–25. http://dx.doi.org/10.1016/j.displa.2008.07.001.

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Cao, Xiaoxiao, Makoto Watanabe et Kenta Ono. « How Character-Centric Game Icon Design Affects the Perception of Gameplay ». Applied Sciences 11, n^o 21 (23 octobre 2021) : 9911. http://dx.doi.org/10.3390/app11219911.

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Mobile games are developing rapidly as an important part of the national economy. Gameplay is an important attribute, and a game’s icon sometimes determines the user’s initial impression. Whether the user can accurately perceive gameplay and affective quality through the icon is particularly critical. In this article, a two-stage perceptual matching procedure is used to evaluate the perceptual quality of six categories of games whose icons include characters as elements. First, 60 highly visual matching icons were selected as second-stage objects through classification tasks. Second, through the semantic differential method and correlation analysis, highly visual matching icons’ affective matching quality was measured. Finally, a series of icon samples were determined, and element analysis was carried out. Several methods were proposed for improving the perceptual quality of game icons. Studying the perceptual matching relationship can better enhance the interaction between designers, developers, and users.

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Mukhopadhyay, Prabir. « Ergonomic Design Issues in Icons Used in Digital Cameras in India ». International Journal of Art, Culture and Design Technologies 3, n^o 2 (juillet 2013) : 51–62. http://dx.doi.org/10.4018/ijacdt.2013070104.

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This paper investigates the usability of five commonly used icons in digital cameras like landscape, video, night portrait and automatic mode. In the first phase a set of 10 open type questionnaires were applied on 110 students (75 male and 35 female) to get an insight into the type of problems with the icons. The second phase comprised of 5 ranking questionnaire. The third phase comprised of icon comprehension test for getting to know the stereotype strength of the different icons. The fourth phase was stereotypy test. The second and third phases were applied on 32 students (16 male and 16 females.). For each category of icons there was one icon which was rated best and comprehended very well. For example the icon for landscape mode which represented a mountain was ranked as the best and the stereotype strength for the same was 90.6%.

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Kovalyukh, N., J. van der Plicht, G. Possnert, V. Skripkin et L. Chlenova. « Dating of Ancient Icons from Kiev Art Collections ». Radiocarbon 43, n^o 2B (2001) : 1065–75. http://dx.doi.org/10.1017/s0033822200041722.

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Icon painting in the Ukraine is rooted in the Byzantine culture, after the conversion to the Christian religion. During the medieval epoch, Kiev became the artistic center for highly skilled icon painters. The icons were painted on wooden boards, specially made for this purpose. Historic dating of some even well-known icons is uncertain or not precise. Here we present for the first time radiocarbon dates for selected icons. Both liquid scintillation counting (LSC) and accelerator mass spectrometry (AMS) dating methods were applied, allowing intercomparison.

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Andelina, Ika Resmika. « KOMPARASI IKON CABANG OLAH RAGA ASIAN GAMES 2018 JAKARTA-PALEMBANG DAN ASIAN PARA GAMES 2018 ». Narada : Jurnal Desain dan Seni 6, n^o 2 (30 septembre 2019) : 329. http://dx.doi.org/10.22441/narada.2019.v6.i2.009.

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Along with the development of technology and the world economy, the use of icons is often found in the creative industries. Icon application can be of various uses, ranging from application icons for devices, sign systems, software, road markings, and others. According to Van Leeuwen, iconography means "writing pictures", often refers to the activity of describing and classifying images. One of the uses of icons in the industrial world can be seen at the Asian Games & Asian Para Games 2018. The icons used at these events are used to represent each sport that is contested. Although it is an icon with the same type of sport, there are different depictions on these icons. This study aims to compare and determine the differences in the 2018 Asian Games & Asian Para Games sports icons, and see which icons can better represent the sport branches they are competing against.

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Hazarika, Parismita, et Debarshi Prasad Nath. « Bishnuprasad Rabha as Cultural Icon of Assam : The Process of Meaning Making ». Cosmopolitan Civil Societies : An Interdisciplinary Journal 9, n^o 1 (21 mars 2017) : 60–76. http://dx.doi.org/10.5130/ccs.v9i1.5241.

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AbstractThe term ‘cultural icon’ is generally used to refer to individuals or images, objects, visual sign, monuments, space etc. In semiotics the term ‘icon’ is used to refer to a sign that bears close resemblance to the object that it stands for. Icons are particularly influential signifiers because they are immediately identifiable and carry complex cultural codes in a compact image. In this paper the understanding of ‘cultural icon’ is not limited to semiotics. Following Keyan Tomaselli and David Scott in Cultural Icons (2009), we believe that cultural icons are purposive constructions. An attempt has been made in this paper to analyze the association of ‘desirable’ meanings to a cultural icon (while dropping ‘undesirable’ ones); thus, it is imperative that we look at the changing socio-political contexts behind such purposive constructions. With this in mind, we look at the iconic figure of Bishnuprasad Rabha who has been one of the most revered figures in the cultural history of Assam and has been appropriated as a cultural icon in different discourses of the national life of Assam that has emerged in recent times.

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Schubert, E., M. Murari, A. Rodà, S. Canazza, O. Da Pos et G. De Poli. « Verbal and Cross-Modal Ratings of Music : Validation and Application of an Icon-Based Rating Scale ». i-Perception 10, n^o 3 (mai 2019) : 204166951985264. http://dx.doi.org/10.1177/2041669519852643.

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Can music be rated consistently using nonverbal descriptors such as colours and temperatures? 144 participants rated 6 experimenter-selected and 2 self-selected pieces of music along 15 bipolar icon (graphic) scales intended to portray emotions, and sensory experiences consisting of colour, temperature, shape, speed, texture, and weight. Participants also rated the same pieces using bipolar verbal scales which aimed to encompass the concepts represented by the icons (e.g., the word “red” for the colour red). Furthermore, the icons themselves were subjected to open-ended verbal labelling to validate the icon scale. Colour icons spontaneously evoked a cross-modal association on 67% of occasions: blue being cool, and red/orange being warm or hot, and the icon scale had overall good face validity. Music regularly and consistently evoked multisensory associations (using the icon scale) including shapes, colours, weight, and temperatures, in addition to emotions. Cross-modal perception is indicative of music’s character rather than the enjoyment of the music. The icon scale provides new insights into music perception and for applications where language skill may limit participant expression.

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Nolan, Peter R. « Designing Screen Icons : Ranking and Matching Studies ». Proceedings of the Human Factors Society Annual Meeting 33, n^o 5 (octobre 1989) : 380–84. http://dx.doi.org/10.1177/154193128903300532.

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Two studies from a screen icon testing program are reported. An appropriateness ranking study is a preliminary procedure that screens several candidate designs and results in a single image content for each icon. Subjects preferred the more concrete icons to the more abstract ones. Familiar image content was also preferred. The matching study determined how well the icons worked as a related set, and how likely it is that individual icons would be confused with each other. The icons for Clock, Drawing, and Voice score high on correct and low on incorrect. The symmetric and asymmetric confusions are identified and explained in terms of visual and conceptual similarity. There is a discussion of the methodology used.

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Laborie, Léonard. « Le telecomunicazioni dagli anni Cinquanta agli anni Novanta. Tra concorrenza e armonizzazione : genesi di una nuova icona dell'Europa integrata ». MEMORIA E RICERCA, n^o 30 (juillet 2009) : 89–97. http://dx.doi.org/10.3280/mer2009-030009.

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- This article aims at placing in an historical perspective the changes that gave birth in the Eighties and Nineties to the contemporary "transnational and liberalized" European telecommunications landscape. Telecommunications networks are articulated around a triangle linking operators (services providers), manufacturers (gears providers) and regulators (providing operating rules). In Europe, this triangle formed strong national monopoly till the Eighties within each nation: a compartmentalized organisation highly contrasting with the idea and prospect of a common market. This landscape was swept away from the Eighties on, the telecommunications sector becoming an icon of an integrated and dynamic Europe, around a common policy combining technical harmonisation (the GSM standard for instance) and deregulation. This article addresses the questions of the origin, goals and stakeholders of a common policy for a long time impossible to achieve, redefined at several occasions, and, at the end, emblematic.Parole chiave: Telecomunicazioni, Cooperazione europea, Armonizzazione tecnica, CEPT, CEE, GSM Telecommunications, European cooperation, Technical Harmonization, CEPT, CEE, GSM

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Arkhypova, Ye I. « BYZANTINE STONE ICON OF THE VIRGIN HAGIOSORITISSA FROM VSHCHIZH ». Archaeology and Early History of Ukraine 35, n^o 2 (30 juin 2020) : 361–67. http://dx.doi.org/10.37445/adiu.2020.02.28.

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The fragment of stone icon with the image of Virgin, outstretching her arms in prayer, has been found in 1949 during the excavations of B. A. Rybakov on the site of Vshchizh, the small city of Chernigov principality. After the invasion of Batu Khan in 1238 it was destroyed and depopulated until the 16th century. T. V. Nikolaeva included the icon into the catalog of Rus stone icons as local craftsman’s production of 12th (?) century, exquisitely made and preserved the painting. The icon has been reproduced on the poor-quality black and white photography and for a long time did not attract the attention of researchers. The examination of digital image of the icon showed that T. V. Nikolaeva opinion was incorrect. The icon preserved not only the painting but also the gilding and Greek letters of dipinto representing the monogram of Mother of God. Usually the dipinti or their traces preserve very poorly on a stone and bone, especially on the icons which have been worn on the breast. The painted inscriptions were wiped away and later replaced by carving or repainting. Gilding, painting and dipinti are known on the Byzantine stone and bone icons but they have not been found on the icons made by Rus craftsmen in pre-Mongolian time. The using of all these techniques, fine relief, thickness of the plate (less than 1 cm) permit to consider the icon from Vshchizh the work of Byzantine, probably Constantinople, craftsman. The iconography makes it possible to attribute the image of Virgin to the type of Hagiosoritissa, and the style permits to date the icon to the second half of 12th — the beginning of 13th century.

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Prasetyo, Yogi Tri, Ratna Sari Dewi, Naiomi M. Balatbat, Michael Lancelot B. Antonio, Thanatorn Chuenyindee, Anak Agung Ngurah Perwira Redi, Michael Nayat Young, John Francis T. Diaz et Yoshiki B. Kurata. « The Evaluation of Preference and Perceived Quality of Health Communication Icons Associated with COVID-19 Prevention Measures ». Healthcare 9, n^o 9 (27 août 2021) : 1115. http://dx.doi.org/10.3390/healthcare9091115.

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Icons have been widely utilized to describe and promote COVID-19 prevention measures. The purpose of this study was to analyze the preference and subjective design features of 133 existing icons associated with COVID-19 prevention measures published by the health and medical organizations of different countries. The 133 icons represent nineteen different function names, such as “Wash Hands” and “Wear Face Mask”. A total of 57 participants were recruited to perform two different tests: ranking test and subjective rating test. The ranking test was conducted to elicit the preference ranking of seven icon designs representing each function name. It was followed by a subjective rating test using 13 semantic scales on the two most preferred icons to analyze their perceived quality. Spearmen correlation was applied to derive the possible correlations between users’ rankings and the semantic scales, and Friedman’s test was also performed to determine the true difference between ranking in terms of each semantic scale to provide a fully meaningful interpretation of the data. Generally, findings from the current study showed that the image presented in the icon is the key point that affects the icons’ perceived quality. Interestingly, Spearman’s correlation analysis between preference ranking and semantic scales showed that vague–clear, weak–strong, incompatible–compatible, and ineffective–effective were the four strongest semantic scales that highly correlated with the preference ranking. Considering the significant relationships between the semantic distances and the functions, images depicted in an icon should be realistic and as close as possible to its respected function to cater to users’ preferences. In addition, the results of Spearman’s correlation and Friedman’s test also inferred that compatibility and clarity of icon elements are the main factors determining a particular icon’s preferability. This study is the first comprehensive study to evaluate the icons associated with the COVID-19 prevention measures. The findings of this study can be utilized as the basis for redesigning icons, particularly for icons related to COVID-19 prevention measures. Furthermore, the approach can also be applied and extended for evaluating other medical icons.

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