Artykuły w czasopismach na temat „Subtractions aesthetics”

Structures in architecture acts as a load-bearing element on mechanical systems. In addition, structures can also provide spatial and aesthetic expressions in architectural with the use of certain techniques and materials that bring out the structure expression. The problem discuss in this paper relates to aesthetic parameters used to examine the structural expression on architectural. The research method used is descriptive analytical method conducted with study of the literature on aesthetics, based on parameters: visual complexity, texture and colour, symmetry of the form and familiarity using the case study of Ship Passenger Terminal building such as Qingdao Cruise Passanger Terminal, Kai Tak Cruise Terminal and Salerno Maritime Terminal.The result shows that visual complexity parameter were exposure the form of curved structures and folding structures, the use of lattice, single-mass, and different building imagery. The texture and colour parameter are subtle textures with curved patterns, use of aluminium or concrete materials,and ivory white to bring out the buildings with the color of the sea.The symmetry of the form parameter shows a natural scale, a rectangular geometric shape that is subjected to addition or subtraction, and the proportion 2:1 between the envelope and open façade. The familiarity parameter is repetition of asymmetric curved patterns form make rhythm that raises perception of the visual aesthetic of the building.

In an essay entirely devoted to the subject of dance in Alain Badiou's Handbook of Inaesthetics [Petit manuel d'inesthétique (Badiou 2005b)], we find the following contentious statement: “Dance is not an art, because it is the sign of the possibility of art as inscribed in the body” (69). At first glance, this statement seems strangely familiar to the reader versed in writing about dance, particularly philosophical writing. “Dance is not an art”: Badiou critiques Mallarmé as not realizing this as the true import of his ideas. It is familiar because it attests to a certain problem in aesthetic thinking, one that relates to the placement and position of dance and the works that comprise its history into what can be seen as certain evaluative hierarchies, particularly vis à vis the relation of dance to other art forms, and in particular, those involving speech and writing. Dance seems to suffer from a certain marginalization, subtraction, or exclusion, and its practice seems to occupy a place of the perennial exception, problem, or special case. The strangeness of the statement, on the other hand, relates to the widespread view outside of academic writing that the status of dance “as art” is actually completely unproblematic. What follows therefore is a critical commentary on this assertion of Badiou, placed both in the context of Badiou's writing, and in the wider one pertaining to the problem of exclusion just outlined.

Abstract: This research based on thinking of creativity in Art has not only limited to the new art but also it has done by changing the art to the other media. In the research context ,the creativity is done by changing the art to the extranation. This research is for describing the form of Perburuan novels transformations and the artistic damage of Perburuan film, directed by Ricard Oh. The focus of the study was the transformation of elements in the ecranisation process of Perburuan novel, including 1) characters and characterizations, 2) plot, 3) settings, 4) themes, 5) storytelling style, and 6) the damage of the changing for film aesthetic. The research shows that the transformation from Perburuan novels to film can make some changes, such as subtraction, addition, and variety changing which gives some aesthetics damages of films and this study is based on the idea that creativity in the literature realm is not only about creating new works but also can be performed on old works by making appropriate transformations and not violating ethics. Keywords: transformation, Perburuan novel, ecranisation Abstrak: Penelitian ini didasari pemikiran bahwa kreativitas dalam ranah sastra tidak hanya terbatas pada penciptaan karya sastra baru, tetapi juga dapat dilakukan dengan melakukan pengubahan karya sastra ke dalam media lain. Dalam konteks penelitian ini kreativitas dilakukan dengan mengubah karya sastra ke dalam film melalui proses ekranisasi. Penelitian ini bertujuan mendeskripsikan bentuk-bentuk transformasi novel Perburuan dan dampak artistiknya dalam film Perburuan garapan sutradara Richard Oh. Fokus penelitian ini adalah perubahan unsur-unsur novel Perburuan, yang meliputi 1) tokoh dan penokohan, 2) alur, 3) latar, 4) tema, 5) gaya bercerita, dan 6) dampak perubahan itu terhadap estetika film. Penelitian ini menunjukkan bahwa transformasi dari novel Perburuan ke film mengalami beberapa perubahan berupa penciutan, penambahan, dan perubahan bervariasi, yang secara keseluruhan memberi dampak estetika terhadap film serta didasari oleh pemikiran bahwa kreativitas dalam ranah sastra tidak hanya pada penciptaan karya baru, tetapi juga dapat dilakukan pada karya lama dengan melakukan pengubahan yang sesuai dan tidak melanggar etika. Kata kunci: transformasi, novel Perburuan, ekranisasi

Andrew Marvell's “The Garden” foregrounds the role of subtraction in aesthetic creation and seeks to imagine sameness independent of metaphor, similarity, and relation. The poem employs a subtractive poetics that challenges modern presuppositions about the networked, connected essence of literature. It also points to the critical limitations of recent accounts of surface and formalist reading, both of which still present poetry as productive, especially insofar as it heightens attention. For Marvell, in contrast, the value of lyric resides in the ways in which it challenges the dialectical notion of creative destruction and, instead, conceives of an annihilation that does not transform into its more respectable opposite. “The Garden,” then, shows that we and our students are overburdened with connection—that there is too much relation, not too little—and that the function of poetry is to dismantle these links in the interest of creativity.

The polemic on waiting for human emancipation in music belongs to the modern aesthetic plane, where Adorno's and Heidegger's manuscripts occupy a specific place. However, while Heidegger's ontology of the waiting implies waiting for the metaphysics of presence (Will), Adorno maintains that music should rather express "waiting in vain" (vergebliches Warten) by its spatio-temporal structuration, given that "after Auschwitz" philosophy with metaphysical assumptions is no longer possible. In the light of Adorno's modem interpretation of waiting in vain, my aim is to examine Badiou's conception of the Event-Subject in music. The thesis of this paper is that Adorno's concept of waiting in vain expresses defeatism of the known (perseverance-of-self) - which, due to its own character of filled affect of disappointment, does not leave time-space for newness. On the trail of Badiou's ontology of subtraction, I oppose the conception of affirmative, non-eschatological, chiliastic expectation ("surplus of waiting") to the passive waiting in vain in music.

Piotr Szczęsny set himself on fire in protest of the Polish government in October 2017. Charged with political orientation, his selfimmolation posed a challenge to the news media, forcing it deep into the gutter the suicide archive, where commentators debated appropriate aesthetics of protest in a country whose imagery imagery is predominately thanatic; in a nation-state that has been resurrected after its many occupations yet still remains within a sacrificial grave, with death as the cornerstone of community. In this article, I situate Szczęsny’s death within the nightmare-bound post-Soviet political scene through historically contextualizing the debate around his suicide, where the act itself was criticized on the basis of its inappropriate aesthetics of irrational selfharm. I argue that such binding of a/political catastrophe in a bundle of representations corresponds to what François Laruelle calls media intellectualism, a form of engaging suffering that relies on its mediation. Seeking an alternative discourse of engaging the a/political act, I look to Katerina Kolozova’s non-standard politics of pain and to Oxana Timofeeva’s work on “the catastrophe.” These positions, which I call stances of the unsubject, offer us different starting points for creating solidarity in spaces of void, pain and depression. For the unsubject, pain is the prerequisite for forming the political, albeit in a non-standard manner, where politics cannot oscillate around representations, ideologies or identities. Rather than mediate self immolation, I ask whether the way that we define “the political” could benefit from a subtraction of mediation, from a catastrophic thinking in parallel with the brutality of the real, rather than the repetition of (national) trauma. Author(s): Bogna M. Konior: Title (English): Media Intellectualism or Lived Catastrophe? Mediating and Suspending the A/political Act Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 15, No. 1-2 (Summer 2018) Publisher: Institute of Social Sciences and Humanities – Skopje Page Range: 166-185 Page Count: 20 Citation (English): Bogna M. Konior, “Media Intellectualism or Lived Catastrophe? Mediating and Suspending the A/political Act,” Identities: Journal for Politics, Gender and Culture, Vol. 15, No. 1-2 (Summer 2018): 166-185.

Since Mo Yan was given the Nobel Prize for Literature，literary translation has been heatedly debated. Howard Goldblatt, as one of Mo Yan’s major translators of English world, is gaining global eyes. And his translations are so popular that some scholars claim that Howard flatters MoYan himself, and he has rewritten Mo Yan. To make the debate known to the public, the thesis explores Howard’s translation of Red Sorghum, based on the perspective of Media-translatology. In the translation, Howard Goldblatt has made addition, subtraction, rearrangement, etc., in the translation. His changes and adjustments are quite different from the ST, but it retains the image, structure of the ST, and it adopts aesthetic fidelity, which is a universal principle in literary translation. Howard’s choice of MoYan is another reason to help him achieve success in translation for western readers are particularly interested in Mo Yan’s invention of genre, style, techniques and language. And what Howard’s action has coincided with the significant opening-up policy of China is also a great power to popularize his translation. Actually, Howard’s performance and practice are necessary steps to communicate culture in cross-cultural interactions, he is not only a communicator of Chinese literature, modern and contemporary, but also a constant contributor of world civilization and culture, for his new attribute in translation—a thirdness.

Abstract Aim To assess the objective orthodontic treatment needs of patients treated in an accredited Orthodontic Clinic in North America using a retrospective cross sectional study and the Dental Aesthetic Index (DAI). Methods and Materials One hundred pre- and post-treatment study models were randomly selected from the model storage facility of the clinic. Only the pre-treatment study models were assessed using the DAI. The pre - treatment and post- treatment ages for each case were noted as recorded on the corresponding study models. The range for the pre-treatment age was 10 to 52 years, and from 12 years, 4 months to 54 years for the post-treatment age range. The duration of treatment for each case was calculated by subtracting the pre-treatment age from the post-treatment age (range of treatment duration, 9 to 125 months). Descriptive statistics as well as chi-square statistics were employed to analyze the data. Results Fifteen cases had normal or minor malocclusions with no treatment or slight need for treatment. Definite malocclusions with treatment highly desirable accounted for 22 cases and severe malocclusion with treatment highly desirable was found in 16 cases. Forty-seven cases had handicapping malocclusion with treatment considered mandatory. While a statistically significant association (p<0.05) was found between duration of treatment and severity levels of malocclusion (DAI scores), the association between pre-treatment age and DAI scores was not significant (p > 0.05). Conclusions Eighty-five percent of the study sample needed orthodontic treatment with different malocclusion severity levels, while 47% of the cases qualified for publicly subsidized treatment due to handicapping malocclusions. The association between duration of treatment and DAI score groups (malocclusion severity levels) was found statistically significant. It could be helpful for more clinic-based (demand populations) studies on treatment needs be undertaken across the globe using the DAI, at least for the purposes of comparison. Citation Onyeaso CO, BeGole EA. Orthodontic Treatment Need in an Accredited Graduate Orthodontic Center in North America: A Pilot Study. J Contemp Dent Pract 2006 May;(7)2:087-094.

Many fluctuation-driven phenomena in fluids can be analysed effectively using the generalised Lagrangian-mean (GLM) theory of Andrews & McIntyre (J. Fluid Mech., vol. 89, 1978, pp. 609–646) This finite-amplitude theory relies on particle-following averaging to incorporate the constraints imposed by the material conservation of certain quantities in inviscid regimes. Its original formulation, in terms of Cartesian coordinates, relies implicitly on an assumed Euclidean structure; as a result, it does not have a geometrically intrinsic, coordinate-free interpretation on curved manifolds, and suffers from undesirable features. Motivated by this, we develop a geometric generalisation of GLM that we formulate intrinsically using coordinate-free notation. One benefit is that the theory applies to arbitrary Riemannian manifolds; another is that it establishes a clear distinction between results that stem directly from geometric consistency and those that depend on particular choices. Starting from a decomposition of an ensemble of flow maps into mean and perturbation, we define the Lagrangian-mean momentum as the average of the pull-back of the momentum one-form by the perturbation flow maps. We show that it obeys a simple equation which guarantees the conservation of Kelvin’s circulation, irrespective of the specific definition of the mean flow map. The Lagrangian-mean momentum is the integrand in Kelvin’s circulation and distinct from the mean velocity (the time derivative of the mean flow map) which advects the contour of integration. A pseudomomentum consistent with that in GLM can then be defined by subtracting the Lagrangian-mean momentum from the one-form obtained from the mean velocity using the manifold’s metric. The definition of the mean flow map is based on choices made for reasons of convenience or aesthetics. We discuss four possible definitions: a direct extension of standard GLM, a definition based on optimal transportation, a definition based on a geodesic distance in the group of volume-preserving diffeomorphisms, and the ‘glm’ definition proposed by Soward & Roberts (J. Fluid Mech., vol. 661, 2010, pp. 45–72). Assuming small-amplitude perturbations, we carry out order-by-order calculations to obtain explicit expressions for the mean velocity and Lagrangian-mean momentum at leading order. We also show how the wave-action conservation of GLM extends to the geometric setting. To make the paper self-contained, we introduce in some detail the tools of differential geometry and main ideas of geometric fluid dynamics on which we rely. These include variational formulations which we use for alternative derivations of some key results. We mostly focus on the Euler equations for incompressible inviscid fluids but sketch out extensions to the rotating–stratified Boussinesq, compressible Euler, and magnetohydrodynamic equations. We illustrate our results with an application to the interaction of inertia-gravity waves with balanced mean flows in rotating–stratified fluids.

Teesid: Artikkel tutvustab Juhan Liivi (1864–1913) luulekäsitust. Liivi mõtlemise selgust ja rangust on senistes tõlgendustes alahinnatud. Uurimuses näitan, et Liivi mõtteavaldustest vormub selge esteetiline programm. Liivi arusaam luulekunstist ilmneb kõige terviklikumal kujul tema kirjutises „Ääremärkused“. Selline lähenemine oponeerib kultuuri üldises teadvuses kajastuvale kujutlusele Liivist kui traagilise saatusega nõrgameelsest luuletajast.S U M M A R YThis paper gives an overview of Juhan Liiv's (1864–1913) poetic analysis and concludes that Liiv's observa­tions form a clear aesthetic framework, a claim that subverts the general cultural depiction of Liiv as a weak-minded poet with a tragic destiny. However, one could argue that the clarity and strictness of Liiv's poetic comprehension has been greatly underestimated – a comprehension that is especially direct and profound in his essay ”Marginalia“ (”Ääremärkused“).In the first section, the author observes how Liiv's artistic sense has been viewed in earlier interpretations. Although Liiv's artistic perceptions were analyzed to some degree by Friedebert Tuglas, the first important researcher of Liiv's work, they have gained ground in the new millennium with the work of Jüri Talvet, whose selection of verses and fragments of Liiv’s poetry show Liiv’s poetic understanding in a new light.The second section maps the manifestations of Liiv’s viewpoints, which are also reflected outside of Liiv’s poetic creations. From the perspective of poetic analysis, ”Marginalia“, written in the final years of his life, conceptualizes poetry much more than any of his previous work, but because the manuscript has received less attention, it is not considered to be the heart of Liiv’s canon. This paper thus aggregates Liiv’s artistic observa­tions of his remaining work into one system.The third section focuses on the interpretation of ”Marginalia“, drawing from the manuscript since the essay itself was published only as excerpts. Vague and ambiguous imagery has been a defining feature of Liiv’s literary style, which has often confused readers, but he consistently uses basic forms of expression and few concepts in his discussion. As a whole, ”Marginalia“ follows a logical train of thought to highlight Liiv’s core viewpoints and describes principles and poetic techniques that are useful for nurturing the effects of poetic content.This paper’s fourth section observes Liiv’s understanding of aesthetics. Since Liiv’s poetry is considered improvisational, his strict poetic observations are surprising, and while his train of thought loosely follows that of realism, it does not adhere to the canon of realism. Liiv suggests that to best portray an experience in poetry, one must depict the object of that experience as clearly as possible. Life, then, must be depicted as realistically as possible to most efficiently communicate the described experience and thus increase the impact of poetry. Therefore, it is pointless to view Liiv’s aesthetic principles as canonized aesthetic comprehension, but rather as a representation of the inner workings of his thoughts based on the points he has stressed. This interpreta­tion of poetics encourages a depiction of only the most shallow aspects of life, and as such, one could consider Liiv’s aesthetic interpretations to be the aesthetics of poverty.The final section of this paper deals with Liiv’s understanding of poetics. When observing poetry in ”Marginalia“, Liiv first examines the smallest poetic unit—the poetic word—and then attempts to define poetic wording. According to Liiv, the most important function of the poetic word is the referential function, and the poetic function is only as important as its ability to amplify the referential function of a word. He claims that it is unnecessary to distinguish a word with poetic devices or highlight the wording of the poem itself; rather, words should be made invisible in order to bring their meaning to the foreground. The poetic function aims to simplify word use and applies to an entire poem: just as an individual word should be simple and referential, so too must the whole of the poem and its expression.Liiv also analyses how to use specific poetic devices to achieve simplicity in expression. He stresses the ”plasticity“ of expression as an integral means of communicating the experience one wishes to portray and exemplifies this idea in a section of his essay detailing poetic technique and imagery in which he describes how to clearly and exactly express ”plastic“ depictions in poetics. First he argues the necessity of a cornerstone image, meaning the ability to create space for that which is being described, thereby allowing the image in a piece to work. He also draws attention to the importance of contrast in poetry, which occurs with the use of two poetic techniques that he calls ”subtraction“ and ”addition.“ With subtraction, one presents the concepts individually in order for them to have greater poetic influence; whereas, with addition, these individual images are presented together. Liiv’s handling of poetic language could be called simplified poetics, as the significance of art is hidden in its simplicity. Simplified poetics works in combination with his broader aesthetic framework: the goal is to portray simple things using intrinsically simple and influencial expressions.

Based on interviews with feminist Instagram users, this article studies emergent feminist visibilities on Instagram through the concept of filtering. Filtering entails both enhancement and subtraction: some feminist sensibilities align with Instagram’s interaction order, while others become subdued and remain at the margins of visibility. Taken together, users’ filtering practices contribute to the confident and happy image, individualistic streak, and accommodationist cast of popular feminism, while also amplifying feminist politics that affirm the pleasures of visibility and desire. Instagram proves a more challenging environment for feminists seeking to criticize competitive individualism and aesthetic norms. The notion of filtering enriches existing research on how online environments reconfigure feminist politics and problematizes the avowal of feminism in media culture.

Abstract Optical appearance is an important aesthetic property of wood, and this unique visual characteristic needs to be described quantitatively for many industrial applications. The objective of this study is to demonstrate the change in appearance of lumber surfaces from the viewpoint of human observation. Ten different specimens of coated and uncoated fancy veneer overlaid plywood of four species and solid and print Sugi (Japanese cedar) boards were prepared. For observation purposes, a simple goniophotometric device was constructed. A series of digital images of each specimen was taken, whereas the surface was illuminated from various lighting azimuths. The images were evaluated by subtraction, correlation, and multiresolution contrast analyses. The first two methods detect reflection anisotropy on the specimen surface through comparison of two images. Subtraction analysis also distinguishes between the coated and uncoated surfaces. However, it is difficult to determine the difference between the solid and print Sugi specimens based on these techniques. By contrast, multiresolution contrast analysis renders possible evaluation of the size and degree of the change in the surface appearances by contrast values. By comparing the contrast values for every lighting azimuth and filter size, this analysis clearly determines the change in appearance peculiar to wood, such as reflection anisotropy, improvement in reflectiveness conferred by coating, and the difference between the solid and print Sugi specimens.

The purpose of this project is to help and encourage Grade 1 students with the ages ranging 6-7 to improve their math skills and make mathematical concepts more interactive. It is built with the use of a Kinect device with a motion sensor that enables the users to control the game application through hand gestures. The project covers topics like counting, addition, subtraction, patterns, and comparing numbers. The application has lessons with learning activities and quiz as for the assessment. The application can run on Windows OS 10 with a screen display of 1366 x 768. It was developed using Microsoft Visual Studio 2015, C# for the programming language, Kinect SDK for references, and Adobe Photoshop CS6, Moovly and Sony Vegas Pro 14 for the design, videos and audios. The researchers successfully conducted test cases such as the functionality of the overall features, the stress test for stability of the Kinect device and compatibility testing for the software and hardware requirements. The evaluation was participated by ten (10) IT experts and thirty-five (35) end-users comprised of Grade 1 pupils with their parents and Grade 1 teachers. The user’s acceptability of the project was based on the criteria of PC Game application such as functionality, engagement, and aesthetics. The overall evaluation results garnered an average mean of “3.68” and a standard deviation of “0.10” with an interpretation of “Highly Acceptable”. Hence, participants strongly agreed that the project can be an educational tool in learning basic mathematics for children.

Abstract Background The anatomical features of the gingiva and the clinical crowns and their interrelation, especially in aesthetically and functionally demanding areas, are important in complex dental or implant-retained prosthetic rehabilitations. This observational cross-sectional study was designed to evaluate gender- and age-related differences in the width of attached gingiva (WAG), the clinical crown length (CCL), and their interrelation in the anterior teeth to determine the relationship between the pink and white aesthetics. Methods Eighty (54 females, 26 males) fully dentate Caucasian participants between the ages of 20 and 25 years and 36 probands (23 females, 13 males) between the ages of 45 and 55 years were included in the present study. The CCL of the maxillary and mandibular canines, as well as the central incisors of the maxilla and mandible, were determined with a dental sliding caliper measuring from the middle margin of the gingiva at its deepest point to the incisal edge. The clinical investigation of the WAG was performed by inserting a periodontal probe into the gingival sulcus in the middle of the buccal surface to firstly measure the probing pocket depth. The distance between the gingival margin and mucogingival junction (MGJ) was then measured with a Beerendonk sliding caliper in the middle of the labial curvature, and the clinical WAG was determined by subtraction of the measured probing depth. For the statistical analysis, the Mann–Whitney U test, the Wilcoxon-Test, the Spearman’s rank correlation, and a two-factorial non-parametric analysis were used. Results There was no correlation between the CCL and the WAG in a healthy periodontium. Gender influenced the CCL, with men having significantly longer teeth than women in both maxilla (P ≤ 0.01) and mandible (P ≤ 0.05). Age did not influence the CCL significantly neither in the upper (P = 0.06) nor in the lower jaw (P = 0.33). Gender did not show to have a significant influence on the WAG of maxilla (P = 0.69) and mandible (P = 0.26). But differences in the WAG between young and old participants were observed in both upper (P ≤ 0.01) and lower jaw (P ≤ 0.05). Conclusion The present observational study demonstrated that the mean values of cohorts with mixed age groups and genders should not be considered when attempting to determine the ideal relationships between the pink and white aesthetics since the statistical analyses showed significant differences between different age groups and genders.