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Artykuły w czasopismach na temat "Peruvian Small art works"
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Filatova, Tetiana. "Guitar Music of Celso Garrido-Lecca: Modern Projections of Peruan Traditions". Scientific herald of Tchaikovsky National Music Academy of Ukraine, nr 134 (17.11.2022): 139–54. http://dx.doi.org/10.31318/2522-4190.2022.134.269653.
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The relevance of the article is to deepen the analytical aspect of knowledge about Peruan guitar music of the late 20th – early 21st centuries in the context of the renewal of genre traditions of Andean music on the example of works by Celso Garrido-Lecca. Main objective of the study is to determine the influence of Peruvian traditions on the guitar music of Celso Garrido-Lecca in the conditions of modern creative contexts. The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis for: contextual consideration of the composer's creative activity; study of genre and style elements of Peruvian music traditions of folk, professional and non-academic origin in their interaction with the academic language of new music; comparison of the genealogy of rhythmic structures and their manifestations in the researched works; correlation of associative-figurative series with timbral connotations, specific genres and intonation and chord patterns. Results and conclusions. The study of the guitar music of the contemporary Peruvian composer Celso Garrido-Lecca performed by masters of academic art opens interesting pages of the new South American repertoire. Loyalty to the folklore traditions of his country, the study of timbre specificity and aesthetics of the Andean sound, the organology of ancient aerophones and local analogues of the charango, the collective practice of music making, as well as the ethnic language elements of the music of the coastal regions have affected the author's guitar works. Household traditions of Peruvian culture are identified in the sound atmosphere of the new vocabulary of the European model - polytonal “collage” music layers, constructivist modal octatonic arrangements, in the context of serial elements and polystylistic overlays of “foreign” texts. The genealogy of the rhythms deciphered in the composer's guitar opuses indicates a closeness to specific genre features: the Andean rhythm formulas of the huáyno, the Afro-Peruvian festejo, the ancient figures of the landó, the Creole samacueca, the tondero and the marinera with Iberian roots. The author resorted to quoting folklore sources in "Popular Andean Dances" with their updating with musical means of modern vocabulary; imitated the timbres of Andean flute orchestras in the cycle “Poetics” in the guitar parts; introduced the Andean charango of the Ayacuchan model into the scores of the orchestral versions of his suites; in the part of the instrumental duet of charango and guitar. In Celso Garrido-Lecca's guitar works, syntheses of archaic thinking of folkloric Andean chants, hybrid origins of poetics of local Creole and Afro-Peruvian rhythms with new language and intonation paradigms of academic art are organically embodied. Research perspectives are seen in the study of the influence of Peruvian culture on the modern non-academic traditions.
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Coler, Matt, Patrice Guyot i Edwin Banegas-Flores. "Verbal art as heuristic for semantic analyses". LIAMES: Línguas Indígenas Americanas 20 (2.10.2020): e020011. http://dx.doi.org/10.20396/liames.v20i0.8660368.
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Aymara is an Amerindian language spoken mainly in Peru and Bolivia. To date, relatively little is documented about Aymara verbal art. Accordingly, we analyze a traditional song recorded in the Peruvian highlands. We provide a musical and linguistic analysis of the non-prosodic poetic song structure. We detail the octosyllabic, homeoteleutonic strategies for line formation, the melodic and rhythmic characteristics, and outline the syntactic, morphological, and semantic strategies used in forming semantic couplets. This reveals semantic categories which would not be apparent in a traditional linguistic analysis. Furthermore, the musical analysis confirms previous works on the misperception of a musical anacrusis. We conclude that rigorous, scientific analyses of verbal art require consideration of the construction of meaning through practice and dialog.
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Quilter, Jeffrey. "The Moche Revolt of the Objects". Latin American Antiquity 1, nr 1 (marzec 1990): 42–65. http://dx.doi.org/10.2307/971709.
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Stories involving the death of the sun and a subsequent revolt of objects against humans are variants of a common and ancient Native American myth, and it is argued that a number of art works from the Moche culture of the Peruvian north coast depict a variant of this myth. The “Revolt of the Objects” theme is part of a narrative sequence representing an important epic of the late Moche culture that is linked to other Moche art, larger symbolic concepts, and sociopolitical events. Now that simple diffusionistic explanations are no longer applicable, the occurrence of similar themes in myths and art throughout the Americas is a subject that should be reexamined.
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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 (1.01.2021): 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, nr 1 (3.11.2021): 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, i 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, nr 4 (20.12.2017): 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, nr 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.
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Thomas, Leslie. "ART WORKS Projects: Claiming Public Space for Human Rights". Revista Electrónica de Derecho Internacional Contemporáneo 3, nr 3 (18.12.2020): 167–70. http://dx.doi.org/10.24215/2618303xe013.
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ART WORKS Projects (AWP) was born out of desperation. A photo of a small boy who had been murdered in a genocidal attack against civilians in Darfur by a Sudanese government intent upon their eradication led to the formation first of the DARFUR/DARFUR exhibition of large-scale exterior projections and eventually to AWP. The founders, by and large architects, filmmakers, editors, photographers, lawyers, and designers, weren’t naive enough to believe that art can always end genocide (or any other grave human rights abuse), but they knew it impacted them and so they theorized that the same could happen to policymakers, voters, and ultimately, perpetrators.
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Yang, Zeyin. "Application and Development of Digital Enhancement of Traditional Sculpture Art". Scientific Programming 2022 (3.02.2022): 1–8. http://dx.doi.org/10.1155/2022/9095577.
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Sculpture art, as an important carrier of spiritual civilization, also portrays a prosperous scene as an industry with urban and cultural development. Three-dimensional technology offers a new platform for sculpture creation, allowing for the digitization of sculpture works via electronic information technology, and the display of sculpture works in front of people via displays, facilitating the exchange and dissemination of information and promoting the growth and progress of the entire sculpture creation industry. We plan to use digital enhancement technology to conduct small-scale creation experiments on traditional sculpture works, discuss the method of GA (Genetic Algorithm) in image restoration processing, investigate the method of image segmentation processing based on the genetic algorithm, and propose the method of image segmentation processing based on the fuzzy membership surface genetic algorithm, in order to verify and solve the creation difficulties of traditional sculpture works.
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Akimov, Dmytro. "Marketing researches and promotion works of art in the fine art’s marketing". Almanac "Culture and Contemporaneity", nr 1 (31.08.2021): 139–44. http://dx.doi.org/10.32461/2226-0285.1.2021.238609.
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The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the research of marketing processes in the art market. The article establishes that in the second half of the XX century - at the beginning of the XXI century in the art market very actively and effectively were used and are used marketing models and technologies. But professional scientific activity, scientific researches in the field of art market marketing have been conducted and are conducted insufficiently. Therefore, it can be stated that artistic creativity is the area of meticulous attention of large, small, and medium-sized businesses, which, in turn, created the art market, but still has not attracted specialists in this field of sociological, economic, marketing sciences. Scientific, research work on the positioning of works of art aims to determine the main market qualities of works of art, their recognizability for further promotion of works in the markets using advertising and other marketing mechanisms. The main purpose of the article: analysis of the specifics of the realization of classical marketing technologies (marketing researches, positioning of works of fine art) in the marketing of fine arts. Conclusions. The analysis of the problems of using traditional marketing technologies in art marketing carried out in the article gives grounds to state that such technologies are used in the art market, but they differ significantly from other market areas. Besides, due regard should be paid to the effectiveness of marketing technologies in the art market. Note that such traditional marketing technology as marketing researches is insufficiently used in the marketing of fine arts. Technology deserves special attention in art marketing. The technology of positioning works of art and artists deserves special attention in art marketing. The positioning of works of art in the implementation of the marketing approach allows the market to implement such strategies to meet the demand for works of art as: negative demand, lack of demand, latent demand, declining demand, irregular demand, full demand, excessive demand, unwanted demand.
Rozprawy doktorskie na temat "Peruvian Small art works"
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Clark, W. Andrew, Cher L. Cornett i 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.
Książki na temat "Peruvian Small art works"
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Malacchini, Stefania. Ojo andino Perà: Peruvian contemporary artists. Villorba]: Fabrica, 2016.
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Jane, Livingston, Conrad Barnaby 1953- i John Berggruen Gallery (San Francisco, Calif.), red. Richard Diebenkorn: Figurative works on paper. San Francisco: John Berggruen Gallery, 2003.
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Collection, Harry W. Anderson, i Fisher Gallery (University of Southern California), red. Richard Diebenkorn: Works on paper from the Harry W. Anderson Collection. Los Angeles, Calif: Fisher Gallery, University of Southern California, 1993.
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Ghana, FCA, red. Small works, big city. [Accra]: FCA Ghana, 2005.
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Ghana, FCA, red. Small works, big city. [Accra]: FCA Ghana, 2005.
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Ghana, FCA, red. Small works, big city. [Accra]: FCA Ghana, 2005.
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Diebenkorn, Richard. Richard Diebenkorn: Small paintings from Ocean Park. Wyd. 2. San Francisco, CA: Hine Inc., 1986.
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Ricketts Rey de Castro, Patricio., Hare Billie, Lavalle, J. A. de 1833-1893., Paz Soldán Mariano Felipe i Construtora Norberto Odebrecht, red. Arequipa. Rio de Janeiro, RJ, Brasil: Spala Editora [para odebrecht], 1988.
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Dore, Ashton, Sheldon Memorial Art Gallery i Brooklyn Museum, red. Richard Diebenkorn: Small paintings from Ocean Park. San Francisco, CA: Hine Inc., 1985.
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Gallery, Sligo Art. Íontas: Sixth small works art exhibition. Sligo: Sligo Art Gallery, 1995.
Znajdź pełny tekst źródłaCzęści książek na temat "Peruvian Small art works"
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Mehl, Margaret. "11. The World in Sendai". W 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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HALBICH, MAREK. "TOURISM, MARGINALIZATION AND COMMERCIALIZATION OF ART IN A SMALL INDIGENOUS VILLAGE IN THE PERUVIAN ANDES". W Identity, Tradition and Revitalisation of American Indian Culture, 144–59. Karolinum Press, Charles University, 2017. http://dx.doi.org/10.2307/jj.1544752.11.
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Philbrick, Ethan. "Introduction". W 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". W 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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"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." W No Small Matter, redaktor 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 i Rohit Vartak. "Paleontological postage stamps in art and education". W 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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Loker, William M. "Land Degradation in the Peruvian Amazon: Applying GIS in Human Ecology Research". W Anthropology, Space, and Geographic Information Systems. Oxford University Press, 1996. http://dx.doi.org/10.1093/oso/9780195085754.003.0005.
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Land degradation, a reduction in the productive capacity of land, is a process of increasing concern in the challenge to maintain and enhance global food production. It is an especially critical problem in developing countries faced with the need to increase food availability for growing populations. Billions of dollars are invested in agricultural research and development aimed at increasing the food supply. At the same time, land degradation threatens to reduce production in large areas of agricultural land. While estimates of the magnitude of the problem vary widely (see WCED 1987; WRI/IIED 1988; and Lal and Stewart 1990 for recent reviews), there is a growing consensus that land degradation is a serious and complex problem that merits increased attention from both natural and social scientists. A recent review of this topic by Blaikie and Brookfield (1987) highlights the role of the social sciences in studying land degradation problems. According to these authors, the term “land degradation” refers to a reduction in the actual or potential uses of land due to human activities (1987: 1). The costs of land degradation (“the product of work on degraded lands is less than that on the same land without degradation”) make it a serious social problem for millions of farmers around the world and thus a priority for social science inquiry. A central actor for understanding the causes and consequences of land degradation is the land manager—most often the farmer—who makes the landuse decisions for particular plots of land. Social science has a key role in understanding this process of decision making, including the social and ecological contexts in which decisions are carried out. Anthropology’s emphasis on working with peasants, small farmers, and indigenous people holds out the promise for important empirical and theoretical contributions in understanding land degradation. A human ecology approach that focuses on the adaptive strategies of individuals and groups and the environmental consequences of these behaviors seems particularly well placed to contribute to this topic.
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Cleempoel, Koenraad Van. "Representations of astrolabes in Western art". W 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". W 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". W 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.
Streszczenia konferencji na temat "Peruvian Small art works"
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Kaprielian, Gabriel. "Lima 2100: Collective Resilience Through Adaptive Urbanism". W 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.80.
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Lima 2100: Collective Resilience through Adaptive Urbanism is a transdisciplinary project addressing issues of climate change, social equity, and urban health in Lima, Peru. The project was funded by the U.S. Department of State’s Bureau of Educational and Cultural Affairs as part of their American Arts Incubator, an international creative exchange program. Assistant Professor of Architecture Gabriel Kaprielian was selected as the Lead Artist and tasked with developing a month-long program through international collaboration and partnership of the ZERO1, the U.S. Embassy in Peru, the Contemporary Art Museum (MAC Lima), the University of Engineering and Technology (UTEC), along with 25 participating artist, architects, and activists. Focusing on the challenge of urban development in Lima, the primary goal was to empower local residents with new skills and a framework to understand and respond to their built environment past, present, and future. This was expressed through personal works of adaptive urbanism to create collective resilience, drawing inspiration from global movements such as Black Lives Matter to a history of Peruvian activism rooted in indigenous culture and female leadership. The project describes a method of utilizing art and technology as platforms for discourse to envision speculative futures of urban environments that are inclusive, healthy, and sustainable.
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Fujarra, André L. C., Guilherme F. Rosetti, Jaap de Wilde i Rodolfo T. Gonçalves. "State-of-Art on Vortex-Induced Motion: A Comprehensive Survey After More Than One Decade of Experimental Investigation". W 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., i Е. П. Сталинская. "AUTHOR’S SOUVENIRS BY CERAMIST VYACHESLAV SHVETSOV". W 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". W 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, i Sergio Nesteriuk Gallo. "LINK 2021 3rd International Conference on Practice-led research in Art and Design: Forward". W 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 i Xiaoming Jin. "Grouping Attribute Recognition for Pedestrian with Joint Recurrent Learning". W 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 i Qi Ye. "Contact2Grasp: 3D Grasp Synthesis via Hand-Object Contact Constraint". W 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". W 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 i Hongde Jiang. "Uncertainty Quantification of Conjugate Heat Transfer of a Cooled Turbine Vane: Roughness Effect". W 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 i Qionghai Dai. "Zero-shot Learning with Many Classes by High-rank Deep Embedding Networks". W 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.
Raporty organizacyjne na temat "Peruvian Small art works"
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McClure, Michael A., Yitzhak Spiegel, David M. Bird, R. Salomon i R. H. C. Curtis. Functional Analysis of Root-Knot Nematode Surface Coat Proteins to Develop Rational Targets for Plantibodies. United States Department of Agriculture, październik 2001. http://dx.doi.org/10.32747/2001.7575284.bard.
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The goal of this research was to provide a better understanding of the interface between root-knot nematodes, Meloidogyne spp., and their host in order to develop rational targets for plantibodies and other novel methods of nematode control directed against the nematode surface coat (SC). Specific objectives were: 1. To produce additional monoclonal SC antibodies for use in Objectives 2, 3, and 4 and as candidates for development of plantibodies. 2. To determine the production and distribution of SC proteins during the infection process. 3. To use biochemical and immunological methods to perturbate the root-knot nematode SC in order to identify SC components that will serve as targets for rationally designed plantibodies. 4. To develop SC-mutant nematodes as additional tools for defining the role of the SC during infection. The external cuticular layer of nematodes is the epicuticle. In many nematodes, it is covered by a fuzzy material termed "surface coat" (SC). Since the SC is the outermost layer, it may playa role in the interaction between the nematode and its surroundings during all life stages in soil and during pathogenesis. The SC is composed mainly of proteins, carbohydrates (which can be part of glycoproteins), and lipids. SC proteins and glycoproteins have been labeled and extracted from preparasitic second-stage juveniles and adult females of Meloidogyne and specific antibodies have been raised against surface antigens. Antibodies can be used to gain more information about surface function and to isolate genes encoding for surface antigens. Characterization of surface antigens and their roles in different life-stages may be an important step towards the development of alternative control. Nevertheless, the role of the plant- parasitic nematode's surface in plant-nematode interaction is still not understood. Carbohydrates or carbohydrate-recognition domains (CROs) on the nematode surface may interact with CROs or carbohydrate molecules, on root surfaces or exudates, or be active after the nematode has penetrated into the root. Surface antigens undoubtedly play an important role in interactions with microorganisms that adhere to the nematodes. Polyclonal (PC) and monoclonal (MC) antibodies raised against Meloidogyne javanica, M. incognita and other plant-parasitic nematodes, were used to characterize the surface coat and secreted-excreted products of M. javanica and M. incognita. Some of the MC and PC antibodies raised against M. incognita showed cross-reactivity with the surface coat of M. javanica. Further characterization, in planta, of the epitopes recognized by the antibodies, showed that they were present in the parasitic juvenile stages and that the surface coat is shed during root penetration by the nematode and its migration between root cells. At the molecular level, we have followed two lines of experimentation. The first has been to identify genes encoding surface coat (SC) molecules, and we have isolated and characterized a small family of mucin genes from M. incognita. Our second approach has been to study host genes that respond to the nematode, and in particular, to the SC. Our previous work has identified a large suite of genes expressed in Lycopersicon esculentum giant cells, including the partial cDNA clone DB#131, which encodes a serine/threonine protein kinase. Isolation and predicted translation of the mature cDNA revealed a frame shift mutation in the translated region of nematode sensitive plants. By using primers homologous to conserved region of DB#131 we have identified the orthologues from three (nematode-resistant) Lycopersicon peruvianum strains and found that these plants lacked the mutation.