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Artigos de revistas sobre o assunto "Nepali Small art works"
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Rajbhandari, Jasmine. "Aestheticism in Uttam Nepali’s Abstract Works". Journal of Fine Arts Campus 4, n.º 1 (31 de dezembro de 2022): 18–27. http://dx.doi.org/10.3126/jfac.v4i1.51758.
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The aim of this paper is to explore aesthetic beauty in abstract paintings of Uttam Nepali. The available researches had only found out that he was an abstract painter and painted his feelings and emotions. This article argues that forms and colors he created are for the sake of their beauty. The art forms provide aesthetic pleasure to the viewers. The abstract paintings are analyzed and interpreted in qualitative method. The article focuses that Nepali created the structure of colors and lines by proper arrangements which increases the aesthetic qualities of abstract works and has no any utility purpose. It concludes that the value of Uttam Nepali’s abstract art in the development of Nepali contemporary art is only because of his individual aesthetic form.
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Rajbhandari, Jasmine. "Female voice in Nepali Art". Journal of Fine Arts Campus 5, n.º 2 (31 de dezembro de 2023): 8–17. http://dx.doi.org/10.3126/jfac.v5i2.67284.
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The emergence of female voices in Nepali art noticeably began in 1989. The recent practices of female Nepali artists not only represent their personal emotional experiences but also convey strong messages. Their work talks about the various challenges faced by women in the patriarchal society of Nepal, and aims to bring positive changes such as equal space and freedom from social barriers. They not only address gender issues, but also question the right to give birth and abortion. Additionally, they address social disorders such as rape, Chhaupadi practices, untouchable issues during menstruation, and many other political issues in their work. This writing is based on qualitative research design and explores the work of ten Nepali women artists, using the theory of Feminism. Today, Nepali art is rapidly developing due to globalization and education. One of the main reasons for this progress is the rise in consciousness and education of female artists. They have demonstrated unique vision and creativity to lead the entire genre towards a better future. National and international art galleries exhibit their works, and even international museums collect their pieces. Their work is attracting the art market and also is getting critical acclaims.
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Subedi, Abhi. "Abstract Paintings and Nepali Context". SIRJANĀ – A Journal on Arts and Art Education 8, n.º 1 (13 de julho de 2022): 6–21. http://dx.doi.org/10.3126/sirjana.v8i1.46652.
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Abstract art as discussed in this essay covers a period of time that spans about sixty years. The introduction of the abstract art in Nepal marks a certain opening in both art education and practice among the artists. The initial challenge of the abstract art was to make it a familiar subject both among the art lovers as well as among those who respected art but were not able to appreciate it fully. A challenging period came when artists began to work towards making abstract art an acceptable and a very useful artistic practice. The tension between skill of the artists and the indifference of the public is a universal problem. But now the gap is being narrowed down everywhere. The concept of abstract art in Nepal comes from education in schools in Europe and India in the initial phase and later in Nepal itself where art pedagogy became a norm in different art schools and colleges. But artists freely made their paintings abstractas the commonly accepted mode of art. Artists of different generations execute abstract paintings without being critical or interpretative about it. But now things are changing in Nepal. New generation artists who are oriented to the abstract and free forms of art are working to develop a system by putting together the art education, practice and very importantly, the level of public acceptance for that. We should carefully review the history and the present status of that. We should also make the art works 'desirable'. The other important character of Nepali abstract painting is that the artists always work in the contact zones of the representational and the expressionist features. I have interpreted that meeting point as a contact zone. This article attempts to give examples of that dynamic process. Nepali abstract paintings mark a new mode of artistic dynamism in Nepal.
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Sharma, Yam Prasad. "Contemporary Nepali Arts: Some Shocking Trends". Journal of Fine Arts Campus 3, n.º 1 (31 de dezembro de 2021): 1–5. http://dx.doi.org/10.3126/jfac.v3i1.42488.
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In contemporary Nepali arts, there are some trends that shock any sensible viewer or any informed person in the area. Some artists repeat the same subject matter, figure and technique throughout their life or from the beginning of their profession till now. The presentation of the same thing all the time creates monotony and nausea in the viewers. The question arises: how can an artist do the same thing all the time? Some artists see the works of famous western artists in art history books, art magazines and the world wide web, and they copy their subject matters and techniques thinking that they can create works and be famous. Some artists randomly splash and pour colors on the canvas and say that the mess and confusion in the canvas is abstract art. They opine that nobody can understand abstract art. They are fooling the viewers. Some artists call themselves modern Nepali artists, for they have practiced modern techniques of western arts. Some artists print the photograph on the canvas, make the photograph rough using paints and call it their paintings thinking that the viewers will be fooled. Some artists do realistic paintings with sweats and tireless efforts to earn their livelihood but when it comes to the exhibition of artworks, they make abstract paintings in few minutes. We can find such naïve and shocking trends in some senior artists as well, and young artists following their footprints. As a result, a substantial portion of Nepali art has already entered the whirlpool presenting its non-existent situation which demands immediate rescue from real artists and intellectuals. The scenario of art can be an analogy of the social and political situation of Nepal. We talk about great revolutions, changes and achievements but the situation of people is getting worse and civilization has been degenerated.
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Darshandhari, Saur Ganga. "Appropriating the Mona Lisa in the Contemporary Nepali Painting". SIRJANĀ – A Journal Of Arts and Art Education 9, n.º 1 (6 de julho de 2023): 78–89. http://dx.doi.org/10.3126/sirjana.v9i1.56271.
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There is no boundary in creating, or recreating new work whether in art, literature, music, film, drama, or any medium. The practice of artists using original objects or images in their artworks with changes of the original ones is considered appropriation in art, or appropriate art. This paper focuses on the appropriation of the Mona Lisa in the contemporary Nepali paintings. The Mona Lisa, the most sought-after work of art, was created by Leonardo Da Vinci during c. 1503-1506 is presently housed in the Louvre Museum, Paris. There are several examples of Vinci’s art turned into appropriate art by artists from around the world. In 1919, Marchel Duchamp appropriated adding a moustache and beard with a pencil in a postcard reproduction of the Mona Lisa. Moreover, this appropriation of the Mona Lisa can be seen in Nepali artists' paintings as well. It can be seen in the works of the eminent artist Manuj Babu Mishra to the up-and-coming artists like Laxman Bajra Lama and many others. While making conscious and unconscious dialogues with the Mona Lisa, Nepali contemporary artists seem to be apparently driven by traditional myths, icons, motifs, and religions. Here, ten of the appropriate arts of the Mona Lisa, created by contemporary Nepali artists will be discussed.
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Sharma, Yam Prasad. "Socio-Cultural Dynamics in K. K. Karmacharya’s Artworks". AMC Multidisciplinary Research Journal 3, n.º 1 (31 de dezembro de 2022): 24–38. http://dx.doi.org/10.3126/amrj.v3i1.55819.
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Contemporary Nepali artist K. K. Karmacharya's artworks present socio-cultural issues of the contemporary context of Nepal. The life of the people, their context and activities vividly appear on the canvas. The paintings explore spiritual themes, cultural rituals and social activities in the community. The compositions not only represent the external world but also respond to the situation in visual form. Nepali tradition and ordinary works get space on his canvas. Some art forms mirror the society as it is and some works take corrective measures. They criticize the people and society from distance. The works are connected to the artist, his surroundings and his living experience. This study follows a qualitative approach for research since the artworks can be interpreted in multiple ways.
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Hamal, Koshal. "Inter-Art Dynamics of Kalapremi’s Artworks: A Critique of Contemporary Nepali Arts". Outlook: Journal of English Studies 15 (15 de julho de 2024): 127–36. http://dx.doi.org/10.3126/ojes.v15i1.67771.
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The 'inter-art' refers to an artwork that is composed of more than one art form of the visual arts, such as sculpture, painting, video art, photography, ceramics, installation, performance, etc., showing the relationship between them. This study reveals the idea of inter-art relationships in the works of Gopal Kalapremi Shrestha, widely known as ‘Kalapremi’. The main objective of this paper is to explore the inter-art dynamics of Kalapremi’s artworks. The paper also aims to identify the key art genres in the creations of Kalapremi and to discuss the underlying meaning of his style. The paper reveals the importance of having multiple skills and techniques for an artist in today's contemporary art contexts. The effect of the inter-art relationship shows the dynamism, progressiveness, limitlessness, and unconventionality of an individual art practice. It mainly focuses on the inter-art relationship as a major tool to analyze creativity.
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Subedi, Abhi. "Widening Sphere of Modern Art and Literature in Nepal: A study of the interface between them". SIRJANĀ – A Journal on Arts and Art Education 7, n.º 1 (21 de setembro de 2021): 6–27. http://dx.doi.org/10.3126/sirjana.v7i1.39340.
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I see modernism in painting in this region as an evolutionary process that should trigger discussions about its constituent features. This argument harps on the two questions. Is modernism only an emulation of the Western style and methods in paintings and literature, or is it also the evolution of native cultural consciousness that is reflected in the experiments made by painters in art and by writers in creative literary works? To answer these questions, this article includes discussions about evolutions of modernism in paintings and culture in meta-artistic and literary discourses. Examples are drawn from very selective discussions about literature and works of art for reason of space. The basic argument of this article is that modernism in Nepali paintings should be seen in its evolutionary process. Modernism in art is not a condition that we see in palpable form today. It has grown over a long period of creative engagements and efforts both by painters and literary writers. Nepali art students' exposure to art education in Kolkata and literary writers' engagements with print-capitalism in Banaras over a century ago have played significant roles in introducing modernism in both paintings and literature. But I have said clearly that the use of the Western techniques and education has played great role in this process. We can see that in the interface between art and literature, which should be seen in the widening sphere of such sharing in terms of both techniques, and native orientations.
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Sharma, Yam Prasad. "Some Emerging Nepali Abstract Painters of 1980s". SIRJANĀ – A Journal Of Arts and Art Education 9, n.º 1 (6 de julho de 2023): 48–63. http://dx.doi.org/10.3126/sirjana.v9i1.56256.
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Nepali artists of 1980s further developed the subjective, abstract and plural art trends with their individual identity in the paintings. The movement was from objective representation to subjective expression; concrete reality to abstract concept; from external world to the inner experience; and from visible appearance to the invisible existence. Some representative artists of this period are Kiran Manandhar, Sharad Ranjit, Navindra Man Rajbhandari, and Jeevan Rajopadhyay. Mananandhar's paintings emphasize the inner expression through altered art forms. Sharad Ranjit presents the dancing colors suggesting the implied rhythm of the universe. Rajbhandari's artworks present the quest of light in the darkness and rhythmic melody in the silence. Jeevan Rajopadhyay's colorful compositions stand for themselves with the focus on the aesthetic pleasure of the colors and abstract shapes. Creative works of these artists attempt to capture the invisible and intangible aspects of reality in the aesthetic visual form. There is the curiosity to know the unknown – to see the unseen. The visual forms attempt to present this side of the reality through lines, rhythmic curves, unusual shapes, strange colors, and novel images. Since the visual forms are plural and open-ended, there is the possibility of multiple interpretations. Thus, this research is qualitative.
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Budhathoki, Mahendra Kumar. "Karuna Rasa- Aestheticized Pathos as Tragedy in Parashu Pradhan's The Telegram on the Table and A Relationship". Pursuits: A Journal of English Studies 8, n.º 1 (7 de maio de 2024): 110–18. http://dx.doi.org/10.3126/pursuits.v8i1.65342.
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Art and literature essentially depict a life and its emotions; the portrayed emotions in works of art touch the readers’ heart. The readers feel both pain and pleasure in tragedy. The study aims to expose karuna rasa, pathetic, tragic emotions in Parashu Pradhan's The Telegram on the Table and A Relationship from the perspective of the rasa theory. This paper discusses the tragic feelings and pathetic emotions of Nepali people depicted and inferred in Pradhan’s stories; it also analyzes the formation of karuna rasa, pathetic relish in reading his stories. This study is a library research and qualitative research; it has exploited Bharatmuni’s rasa theory as a theoretical tool. The main finding of the research is that the main rasa, emotion is the emotions of pathos, karuna rasa in these stories. The death of Krishna’s wife in the first story and the death of Ganga in the later one generate the pathetic sentiment, karuna rasa in the stories. The sufferings and miseries of Krishna and of Gyancha and Ganga in Kathmandu city in the later one evokes tragic emotions. Pradhan provides ample rooms for rasa evocation in the stories. The Nepali situation and environment intensify karuna rasa, aestheticized pathos and tragic relish in the stories. Although rasa realization may differ from one readers to next, pathetic sentiment, tragic feeling or karuna rasa is evoked in reading stories. The karuna rasa realization posits his writings grandeur in Nepali literature.
Teses / dissertações sobre o assunto "Nepali Small art works"
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Clark, W. Andrew, Cher L. Cornett e 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.
Livros sobre o assunto "Nepali Small art works"
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Romanow, Joanna Kleinberg. Small. New York: Drawing Center, 2014.
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Gallery, Sligo Art. Íontas: Sixth small works art exhibition. Sligo: Sligo Art Gallery, 1995.
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Gallery, Sligo Art. Íontas: Second small works art exhibition. Sligo: Sligo Art Gallery, 1991.
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Gallery, Sligo Art. Íontas: Eigth small works art exhibition. Sligo: Sligo Art Gallery, 1997.
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Peter, Weiermair, e Ursula Blickle Stiftung, eds. Small is beautiful. Kraichtal: Ursula-Blickle-Stiftung, 2007.
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Íontas, (8th 1997 Sligo Ireland). Íontas eighth small works art exhibition, 1997. [Sligo]: Sligo Art Gallery, 1997.
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Íontas (7th 1996 Sligo, Ireland). Íontas seventh small works art exhibition 1996. [Sligo]: Sligo Art Gallery, 1996.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Nepali Small art works"
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Mehl, Margaret. "11. The World in Sendai". In Music and the Making of Modern Japan, 345–86. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0374.11.
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Chapter 11, ‘The World in Sendai’ investigates the types of ‘Western music’ that were actually performed in concerts in Sendai. This is the main theme of. Based on the programmes of local concerts between 1907 and 1921 published in the magazine Ongakukai (World of music), this chapter shows how local concerts, in which different groups came together to perform an eclectic repertoire to a mixed audience, helped transform the people of Sendai into members of a nation within a wider world of nations. The modern institution of the public concert represented a space where Japanese and foreigners met and played and listened to music that was being performed and heard worldwide. The repertoire included a wide range of genres and countries of origin. Together, this variety, and the locations, scenes, and stories evoked by the pieces reveal much that is obscured by the blanket term, ‘Western music’. Works from the narrow canon of the ‘great masters’ of European art music, in fact, represented only a small fraction of what was performed. For example, the programme of a concert in Sendai in February 1916 included the ‘Tipperary Song’, sung by a Japanese high school student. Published in 1912 and first recorded in 1914, the song evokes to this day the image of British Soldiers marching in the First World War. In fact, three months after the Sendai concert, in the naval battle of Jutland, 26 survivors of the wreck of the Tipperary were reportedly recognized and rescued, when they sang, ‘It’s a long, way...’ It is hard to beat this conjunction as an illustration of music’s power as a force of global integration.
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Philbrick, Ethan. "Introduction". In Group Works, 1–24. Fordham University Press, 2023. http://dx.doi.org/10.5422/fordham/9781531502690.003.0101.
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In the introduction, Philbrick sets up the conceptual and historical terrain of the book by offering three short essays on the group tuned to three different registers—group theory, group politics, and group art—before turning to archival traces of one visionary small group from the 1970s, the Combahee River Collective, and the resonance of their work in Cauleen Smith’s 2018 film Sojourner.
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Harold, James. "Wicked Artists". In Dangerous Art, 51–69. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197519769.003.0004.
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This chapter takes up the problem of immoral artists, as well as related questions, like immoral production. When an artist commits great crimes, some are tempted to treat the art itself as though it were also tainted. The question is whether this is the right thing to do. This chapter argues that the question can be approached in two ways. First, the chapter considers the possibility that works by bad artists are in themselves morally bad. It argues that this view is plausible in only a small number of cases. Second, the chapter considers the possibility that communities around bad artists are tainted by the artist’s bad actions. It defends this view against objections. The primary conclusion is that we should not, for the most part, think of works themselves as being moral or immoral because their creators are.
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"Batya Brutin, Holocaust Icons in Art: The Warsaw Ghetto Boy and Anne Frank. Berlin: Walter de Gruyter; Jerusalem: The Hebrew University Magnes Press, 2020. xvi + 213 pp." In No Small Matter, editado por 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 e Rohit Vartak. "Paleontological postage stamps in art and education". In The Evolution of Paleontological Art. Geological Society of America, 2022. http://dx.doi.org/10.1130/2021.1218(25).
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ABSTRACT Postage stamps are small works of art seen by people worldwide that can be used effectively in education. The first paleontological stamp was released by India in 1951. Since then, over 4000 stamps with fossils, paleontologists, museums, and collecting sites have been issued by almost 200 countries. Stamps that illustrate fossils or reconstructions are intrinsically interesting and popular with many of the millions of stamp collectors. All disciplines of paleontology are represented, but dinosaurs are by far the most common subject, although even bacteria appear on a few stamps. Most of the stamps were scientifically accurate at the time they were issued though some artists took artistic liberties to fashion unique stamps. Overall, the stamps are artistic and educational because their small sizes and low cost make them easily accessible for classroom activities, exhibits, and presentations. They cover topics such as biodiversity, geology, ecology, oceanography, and evolution, among others. Paleophilately has provided art, education, joy, and happiness to people worldwide.
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Cleempoel, Koenraad Van. "Representations of astrolabes in Western art". In Astrolabes At Greenwich, 99–112. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780198530695.003.0009.
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Abstract The relatively infrequent depiction of astrolabes in works of art seems disproportionately small in relation to the large amount of instruments that have survived and to the high number of contemporary treatises that discuss the astrolabe. In comparison, its three-dimensional counterparts – the armillary sphere, and the celestial and the terrestrial globe – have experienced wider acclaim from artists throughout the ages. The immediate ornamental and didactic appeal of these other instruments may be responsible for this trend. But also, in a broader sense, the image of the globe and the armillary sphere became a popular visual metaphor for disciplines such as geometry and astronomy, where they are still used until the present day.
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Rodowick, D. N. "The Force of Small Gestures". In Indefinite Visions. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407120.003.0012.
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In The Logic of Sensation, Gilles Deleuze describes sensation as a domain that lies beneath, over, or inside quotidian vision as if in another dimension of intensive qualitative experience masked by habitual perception. Sensation is also a way of grasping the immanence of philosophy to works of art. The logic of sensation is part and parcel of our world as lived; one might say that sensation is immanent to perceptual experience as force is immanent to matter. In Deleuze’s account of sensation, the plastic arts are less concerned with matter and figuration than they are with force and becoming. Perhaps the problem for both painting and cinema is how to see time and force differently, and to release the figural force of sensation in the image. The chapter continues by investigating the logic of sensation in recent experimental video, primarily Ernie Gehr’s Glider (2001), but also two of the author’s own recent artworks, Waterloo and Plato’s Phaedrus. The chapter concludes with an account of Henri Bergson’s lecture on philosophical intuition to argue that there is a continuous dynamic line that runs between intuition and philosophy, Image and Concept
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Fabrizi, Elisabetta. "From Exodus to Small Axe : Steve McQueen’s Filmic World of Two Halves". In ReFocus: The Films of Steve McQueen, 17–29. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399510936.003.0002.
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Traces how McQueen cemented his position in the art world early in his career and forged a springboard from which he could experiment with feature filmmaking. Analyses how creating the conditions for viewers to become aware of their own presence is at the core of McQueen’s oeuvre, in both his feature films and his gallery works.
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Tilmouth, Michael, David Kimbell e Roger Savage. "Frederick Septimus Kelly Serenade For Flute And Small Orchestra, Op. 7". In The Classics of Music, 124–25. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0015.
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Abstract Commander F. S. Kelly, DSC, RNVR, left but a small collection of compositions to represent him as a musician.1 Those who have known him, and watched the steady irresistible growth of his mastery of life, will always be convinced that music, which was his central means of expression, was an art in which he was sure to achieve something unique and complete. The two works produced on this occasion can do no more than indicate the beginnings of what was, in process of expression, restrained only because it was all comprehending. With him there was a time for everything. His duty towards music did not distract him from his duty towards life, nor did life distract him from music.
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Husovec, Martin, e João Pedro Quintais. "Too Small to Matter? On the Copyright Directive’s Bias in Favour of Big Right-Holders". In Global Intellectual Property Protection and New Constitutionalism, 219–38. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863168.003.0010.
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This chapter shows how Art 17 of the Copyright in the Digital Single Market Directive (DSM Directive) contains an inherent bias favouring large right-holders to the prejudice of small creators. It studies the likely trajectories and incentives of the relevant actors and concludes that the licensing model of Art 17 is tailored to the needs of powerful content owners. Only smaller right-holders must monitor the market, review the use of their works by third parties, and approach each online-content sharing service provider separately. The enforcement mechanism of Art 17 has similar effects on amateur creators, who will often have to rely on exceptions to copyright when creating content in distinction to larger units that can typically resort to licensing. Collective licensing could offer a potential solution to alleviate the identified problems in unequal treatment of different types of copyright owners. The chapter discusses these effects from the perspective of the principle of equal treatment, protected under Art 20 of the EU Charter. It argues that, unless Member States resort to legal mechanisms—such as collective licensing—that can better balance competing rights and interests and not discriminate between different actors, the end-result will be unconstitutional.
Trabalhos de conferências sobre o assunto "Nepali Small art works"
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Fujarra, André L. C., Guilherme F. Rosetti, Jaap de Wilde e Rodolfo T. Gonçalves. "State-of-Art on Vortex-Induced Motion: A Comprehensive Survey After More Than One Decade of Experimental Investigation". In ASME 2012 31st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/omae2012-83561.
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After one decade of experimental investigation, the Vortex-Induced Motion – VIM phenomenon deserves a comprehensive survey concerning the advances related to its understanding, mainly under the consideration of the fundamental aspects that keep it in a close relationship to the dynamic behavior of the same phenomenon acting on slender bodies, the well known Vortex-Induced Vibration – VIV. A considerable amount of results can be found in the literature, although there are few works dealing with a general view of the problem. Probably, the main reason for such a large amount of works with no interaction between themselves and, consequently, without a common understanding about VIM might be due to its technological origin, featured by huge platforms with a variety of geometrical details, which ends up placing the researches more on the field of the faithful reproduction of the features in small-scale and less on the global understanding of the phenomenology regardless the floating system, e.g. a spar platform, a monocolumn or even a semi-submersible or a tension-leg platform. Obviously, no one should disagree that there is part of the research that must keep a faithful relationship with the full scale, however, in most of them it is possible to identify the common fundamentals concerning the fluid-structural interaction. The aim of the present work is to address a comprehensive evaluation of the experimental investigations during the past decade on the VIM, trying to gather a general understanding about its phenomenology including some comparisons to VIV. As a result, some relevant aspects are pointed out for a more prospective way of research.
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Некрасова-Каратеева, О. Л., e Е. П. Сталинская. "AUTHOR’S SOUVENIRS BY CERAMIST VYACHESLAV SHVETSOV". In Образ, знак и символ сувенира. Материалы IX Всероссийской национальной научно-практической конференции. Crossref, 2023. http://dx.doi.org/10.54874/9785605054283_136.
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В статье представлены материалы о творчестве художника-керамиста В. А. Швецова — о создании авторских произведений в разряде минискульптуры, характеризующихся особой темой «Воспоминания» и реализуемых в качестве оригинальных сувениров. Целью статьи является попытка расширить содержательный аспект функции сувениров за счет уникальных художественных произведений небольшого формата, создаваемых и ориентированных на личные воспоминания и сопереживания многих людей. Темы авторских скульптурных мини-композиций В. Швецова: сельская природа (лес, река, радуга); деревенская тематика детства художника; темы материнства, любви («Двое»), Петербурга («Петербургские настроения», «Белые ночи»). Исполненные искренно, душевно, они вызывают у зрителей соучастие, приятные ассоциации и личные воспоминания. Исследование обладает новизной, т. к. материалы его оригинальны и предлагаются к публикации впервые, продолжая ряд представленных на предыдущих конференциях примеров авторских сувениров (2020 — «Авторская серия деревянных скульптурных композиций “арт-сувенир”»; 2021 — «Авторские новогодние картинки К. О. Почтенной как уникальные сувениры»; 2022 — «Ялтинский пейзаж как авторский видовой сувенир»). Результаты и методы исследования этой статьи могут быть полезны в искусствоведении для применения анализа конкретных явлений в культуре и искусстве, новых жанровых образований. The article presents materials about the work of the ceramist artist V. A. Shvetsov – about the creation of author’s works in the category of minisculpture, characterized by a special theme “Memories” and implemented as original souvenirs. The goal of the article is an attempt to expand the content aspect of the function of souvenirs due to the unique artistic works of small format, created and oriented to personal memories and empathy of many people. The themes of the author’s sculptural mini-compositions by V. Shvetsov: rural nature (forest, river, rainbow); village themes from the artist’s childhood; themes of motherhood, love (“Two”), Petersburg (“Petersburg moods”, “White Nights”). Performed sincerely, soulfully, the works evoke in the audience emotional response from the audience, as well as pleasant associations and personal memories. The study has a novelty as its materials are original and are offered for publication for the first time, continuing a number of examples of author’s souvenirs presented at previous conferences (2020 – “Author’s series of the Art Souvenir wooden sculpture compositions”; 2021 – “Author’s New Year pictures by K. O. Pochtennaya as unique souvenirs”; 2022 – “Yalta landscape as author’s souvenir with a view”). The results and methods of the study can be useful in art criticism for the analysis of specific phenomena in culture and art, as well as new genre formations.
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Marquis, Fabien. "Inductors and Coils New Production Solutions using Additive Manufacturing such as EBM 3D Printing and Precision Casting—A Presentation of the Current State-of-the-Art Technologies". In HT 2017. ASM International, 2017. http://dx.doi.org/10.31399/asm.cp.ht2017p0236.
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Abstract In induction heating process, coils and inductors are the core of the heating process. They are the end tool where the magnetic process affecting the part or material to be heated occurs. For more than a century, the dominant manufacturing process has been based, mainly, upon joining technologies where the coppersmith skill has been the safeguard of the quality. Use of fixtures, mandrels, and machined parts have improved the repeatability and quality of the produced elements but high volume, dimensional repeatability has always been source of problems. GH Induction continuously works on the improvement of such relatively artisanal methods to allow better lifetime, minimized production time and overall better quality. Following a first development work bringing a patented innovation in 2011 using a precision casting solution (Microfusion – Wax casting), with a solution provided a single piece coil, GH Induction has, after 2 years of development, patented a new additive manufacturing solution (3D printing concept) based on the use of Electron Beam Melting (EBM). The EBM solution benefits from the latest technology in additive manufacturing, both technologies present tremendous advantages for the designer and user. Complex shape, very small inductors can be manufactured, which are impossible to do with standard method. This presentation and article summarized the concept, manufacturing principle and technical benefits that the final users can have using such innovative solutions.
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Mortensen Steagall, Marcos, e Sergio Nesteriuk Gallo. "LINK 2021 3rd International Conference on Practice-led research in Art and Design: Forward". In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.174.
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The LINK conference emerged from reflections and concerns that we always had about our own actions as educators, researchers, and practitioners in the field of Art and Design. Over the years, we have noticed that such concerns have not disappeared. On the contrary: they have multiplied, diversified, and become more complex. The more we dialogued with people worldwide, especially from the socalled “Global South”, the more we realised that these same issues were also dear to our colleagues, albeit with their own colours and contours. This is the LINK that unites us. The first step was taken as a small in-person event for guests, held in 2019 at the AUT’s South Campus in Manukau. At that time, there was no intention of organising an annual conference. The magnitude of the issues raised seemed to have a particular inhibiting effect on the incompleteness of the conference itself, considering the potential for the rich and fruitful exchange of ideas. Despite, or perhaps precisely because of the difficulties and adversities, this new scenario compelled us to move forward. The second edition of LINK, carried out in a hybrid way in 2020, expanded the quantity, diversity and quality of the works presented. Emerging themes, new epistemologies, and the multiple relationships between theory and practice (if such a distinction can be made) have consolidated as a sort of amalgam of LINK’s main issues. It covers, in a transversal and interdisciplinary way, arguably the entire field of Arts and Design. These discussions expanded beyond the event, and a special issue with 13 articles was published in the DAT Journal in 2021. At this moment, our doubts and uncertainties gave way to the commitment to promote a better event in each new edition. Furthermore, this commitment is only possible thanks to a team that is both dedicated and passionate about this purpose that unites us. Later that year, the Covid-19 pandemic began to spread across the world. In a short time, uncertainty gave way to millions of people’s anguish, suffering, and pain. At the same time, many ideas, beliefs, and values are starting to be reconsidered, bringing new challenges for a new era. Science, the construction of knowledge, and the University itself have a paradigmatic role in this moment of transformation and the search for the construction of a better world. Research changes the world. LINK’s community is constated by researchers to leverage parameters to activate different ways in which practice can create knowledge. They are based on cultural, geographic, and ideological positions shaped by the communitarian and the glocal. Thus, in offering these practice-oriented research considerations, we propose that we can learn “from” rather than “about”. This feeling emanates from recognising that the peculiar stories that generate social and artistic practices form dialogic encounters with voices on the periphery of authority and loop an iterative process to generate their own theoretical foundations.
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Zhao, Xin, Liufang Sang, Guiguang Ding, Yuchen Guo e Xiaoming Jin. "Grouping Attribute Recognition for Pedestrian with Joint Recurrent Learning". In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/441.
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Pedestrian attributes recognition is to predict attribute labels of pedestrian from surveillance images, which is a very challenging task for computer vision due to poor imaging quality and small training dataset. It is observed that semantic pedestrian attributes to be recognised tend to show semantic or visual spatial correlation. Attributes can be grouped by the correlation while previous works mostly ignore this phenomenon. Inspired by Recurrent Neural Network (RNN)'s super capability of learning context correlations, this paper proposes an end-to-end Grouping Recurrent Learning (GRL) model that takes advantage of the intra-group mutual exclusion and inter-group correlation to improve the performance of pedestrian attribute recognition. Our GRL method starts with the detection of precise body region via Body Region Proposal followed by feature extraction from detected regions. These features, along with the semantic groups, are fed into RNN for recurrent grouping attribute recognition, where intra group correlations can be learned. Extensive empirical evidence shows that our GRL model achieves state-of-the-art results, based on pedestrian attribute datasets, i.e. standard PETA and RAP datasets.
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Li, Haoming, Xinzhuo Lin, Yang Zhou, Xiang Li, Yuchi Huo, Jiming Chen e Qi Ye. "Contact2Grasp: 3D Grasp Synthesis via Hand-Object Contact Constraint". In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/117.
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3D grasp synthesis generates grasping poses given an input object. Existing works tackle the problem by learning a direct mapping from objects to the distributions of grasping poses. However, because the physical contact is sensitive to small changes in pose, the high-nonlinear mapping between 3D object representation to valid poses is considerably non-smooth, leading to poor generation efficiency and restricted generality. To tackle the challenge, we introduce an intermediate variable for grasp contact areas to constrain the grasp generation; in other words, we factorize the mapping into two sequential stages by assuming that grasping poses are fully constrained given contact maps: 1) we first learn contact map distributions to generate the potential contact maps for grasps; 2) then learn a mapping from the contact maps to the grasping poses. Further, we propose a penetration-aware optimization with the generated contacts as a consistency constraint for grasp refinement. Extensive validations on two public datasets show that our method outperforms state-of-the-art methods regarding grasp generation on various metrics.
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Meleško, Jaroslav. "ROBUST AUGMENTED REALITY SYSTEM". In Inžinerinė grafika ir projektavimas. Informacinių technologijų sauga ir informacinės sistemos. VGTU Technika, 2016. http://dx.doi.org/10.3846/itsis.2016.09.
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I developed an augmented reality system based on Hough transform to transcend limitations of popular Augmented Reality libraries such as ArUco. The purpose of the system is to project a digital image on to a real canvas, merging digital and traditional artistic media for ease of art production and practice. The technological challenges were identified in fiducial marker based prototype and overcome in the Hough transform based system are as follows: need for a printed marker, imprecision and weakness to occlusion. The developed software based on Hough transform works with any standard sheet of paper (A4, A3 formats). The system projects a photograph directly on to canvas or paper and automatically rotates and fits the image within the canvas. It is also resistant to occlusion, such as a hand on top of the canvas or canvas that is not fully within the frame. Resistance to small scale noise is achieved thought Hough transform and large occlusions are overcome by a line averaging algorithm. The software has shown 14% better performance than analogical ArUco library based software.
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Shi, Wei, Weihong Li, Bo Shi, Xueying Li, Jing Ren e Hongde Jiang. "Uncertainty Quantification of Conjugate Heat Transfer of a Cooled Turbine Vane: Roughness Effect". In ASME Turbo Expo 2017: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/gt2017-63837.
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HP turbine usually works in complex operation conditions and subjects to strong temperature variability and thermal gradients. For these reasons, some small variations caused by manufacturing process and operation conditions will yield great effect on the heat transfer performance and the life of hot components. UQ is a state of the art that seeks to provide a framework for calculating the effects of input parameter uncertainty on model output variables. This study presents an investigation of the uncertainty quantification (UQ) of conjugate heat transfer of a typical high load HP cooled turbine vane, considering the influence of total inlet temperature, turbulence intensity and different surface roughness level. The non-intrusive Probabilistic Collocation Method, integrated with sparse grid quadrature has been used in the UQ analysis. The scaled sensitivity analysis is also carried out to assess the influence of each input uncertainty on the output response. The UQ analysis implies that the increasing of surface roughness will enlarge uncertainty of metal wall temperature. As a result, it needs to amplify the safety margin coefficient in order to assess the turbine guide vane surface temperature distribution and service life.
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Guo, Yuchen, Guiguang Ding, Jungong Han, Hang Shao, Xin Lou e Qionghai Dai. "Zero-shot Learning with Many Classes by High-rank Deep Embedding Networks". In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/337.
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Zero-shot learning (ZSL) is a recently emerging research topic which aims to build classification models for unseen classes with knowledge from auxiliary seen classes. Though many ZSL works have shown promising results on small-scale datasets by utilizing a bilinear compatibility function, the ZSL performance on large-scale datasets with many classes (say, ImageNet) is still unsatisfactory. We argue that the bilinear compatibility function is a low-rank approximation of the true compatibility function such that it is not expressive enough especially when there are a large number of classes because of the rank limitation. To address this issue, we propose a novel approach, termed as High-rank Deep Embedding Networks (GREEN), for ZSL with many classes. In particular, we propose a feature-dependent mixture of softmaxes as the image-class compatibility function, which is a simple extension of the bilinear compatibility function, but yields much better results. It utilizes a mixture of non-linear transformations with feature-dependent latent variables to approximate the true function in a high-rank way, which makes GREEN more expressive. Experiments on several datasets including ImageNet demonstrate GREEN significantly outperforms the state-of-the-art approaches.
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Fukai, Hidekazu, Frederico Soares Cabral, Fernao A. L. Nobre Mouzinho, Vosco Pereira e Satoshi Tamura. "The development of integrated road condition monitoring system for developing countries using smartphone sensors and dashcam in vehicles". In 6th International Conference on Road and Rail Infrastructure. University of Zagreb Faculty of Civil Engineering, 2021. http://dx.doi.org/10.5592/co/cetra.2020.1126.
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In developing countries like Timor-Leste, regular road condition monitoring is a significant subject not only for maintaining road quality but also for a national plan of road network construction. The sophisticated equipment for road surface inspection is so expensive that it is difficult to introduce them in developing countries, and the monitoring is usually achieved by manual operation. On the other hand, the utilization of ICT devices such as smartphones has gained much attention in recent years, especially in developing countries because the penetration rate of the smartphone is remarkably increasing even in developing countries. The smartphones equip various high precision sensors, i.e., accelerometers, gyroscopes, GPS, and so on, in the small body in low price. In this project, we are developing an integrated road condition monitoring system that consists of smartphones, dashcams, and a server. There are similar trials in advanced countries but not so many in developing countries. This system assumes to be used in developing countries. The system is very low cost and does not require trained specialists in the field side. The items that are automatically inspected in this system were carefully selected with the local ministry of public works and include paved and unpaved classification, road roughness, road width, detection and size estimation of potholes, bumps, etc., at present. All the inspected items are visualized in Google Maps, Open Street Map, or QGIS with GPS information. The survey results are collected on a server and updated to more accurate values by the repeated surveys. On the analysis, we use several state-of-the-art machine learning and deep learning techniques. In this paper, we summarize related works and introduce this project’s target and framework, which especially focused on the developing countries, and achievements of each of our tasks.
Relatórios de organizações sobre o assunto "Nepali Small art works"
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Gurung, M. B., Uma Pratap, N. C. T. D. Shrestha, H. K. Sharma, N. Islam e N. B. Tamang. Beekeeping Training for Farmers in Afghanistan: Resource Manual for Trainers [in Urdu]. International Centre for Integrated Mountain Development (ICIMOD), 2012. http://dx.doi.org/10.53055/icimod.564.
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Beekeeping contributes to rural development by supporting agricultural production through pollination and by providing honey, wax, and other products for home use and sale. It offers a good way for resource-poor farmers in the Hindu Kush Himalayas to obtain income, as it requires only a small start-up investment, can be carried out in a small space close to the home, and generally yields profits within a year of operation. A modern approach to bee management, using frame hives and focusing on high quality, will help farmers benefit most fully from beekeeping. This manual is designed to help provide beekeepers with the up-to-date training they need. It presents an inclusive curriculum developed through ICIMOD’s work with partner organizations in Bangladesh, Bhutan, India, and Nepal, supported by the Austrian Development Agency. A wide range of stakeholders – trainers, trainees, government and non-governmental organizations (NGOs), associations and federations, and private entrepreneurs – were engaged in the identification of curriculum needs and in development and testing of the curriculum. The manual covers the full range of beekeeping-related topics, including the use of bees for crop pollination; production of honey, wax and other hive products; honey quality standards; and using value chain and market management to increase beekeepers’ benefits. It also includes emerging issues and innovations regarding such subjects as indigenous honeybees, gender and equity, integrated pest management, and bee-related policy. The focus is on participatory hands-on training, with clear explanations in simple language and many illustrations. The manual provides a basic resource for trainers and field extension workers in government and NGOs, universities, vocational training institutes, and private sector organizations, and for local trainers in beekeeping groups, beekeeping resource centres, cooperatives, and associations, for use in training Himalayan farmers. Individual ICIMOD regional member countries are planning local language editions adapted for their countries’ specific conditions.
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Zharare, Sydney, e Nestor Mashingaidze. Impact of COVID-19 on agribusinesses for investors. Commercial Agriculture for Smallholders and Agribusiness (CASA), 2020. http://dx.doi.org/10.1079/20240191154.
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Evidence from this assessment indicates that, without deliberate support from impact investors, banks and development finance institutions (DFIs), large numbers of agricultural small and medium enterprises (agri-SMEs) will not be able to continue operations following the lockdowns imposed in response to Coronavirus Disease 2019 (COVID-19). The COVID-19 pandemic has had significant negative effects on the operations of agri-SMEs. It has made capital less available, as impact investors and financial institutions take a more cautious approach to extending credit and making investment decisions. Supply chains have been disrupted, resulting in delayed access to inputs (such as seed and fertiliser for smallholder farmers) and in fewer or no deliveries for agri-SMEs. The closure of restaurants and schools has decreased consumer demand. Some agri-SMEs have experienced labour shortages due to restrictions in the movement of people, although some have benefited from family labour as people moved back to their rural homes. The disruptions have created uncertainty for impact investors and financial institutions, which have been compounded by their inability to conduct in-person due diligence assessments for new investments. This evidence report seeks to assess the impact of COVID-19 on agri-SME operations by analysing emerging global evidence and insights from six countries. These are Commercial Agriculture for Smallholders and Agribusiness (CASA)'s three focus countries (Malawi, Nepal and Uganda), as well as Ethiopia, Ghana and Nigeria, which (along with Malawi) formed part of a rapid market assessment (RMA) between April and May 2020. This was carried out by Agricultural Policy Research in Africa (APRA), a research programme funded by the Foreign, Commonwealth and Development Office (FCDO). APRA seeks to understand which pathways to agricultural commercialisation are the most effective at empowering women, reducing rural poverty and improving food and nutrition security in Sub-Saharan Africa. The report uses a market system lens to analyse impacts and craft recommendations for intervention, as agri-SMEs are linked to other value chain actors - such as farmers, impact investors and regulatory authorities - that govern the functioning of the system. The report focuses on the effects of COVID-19 on impact investment and especially on agribusiness impact investors, given their key role in supporting the growth of these enterprises. While the profit motive is paramount for impact investors, the current consolidation and recovery phase calls for investors to take a longer view on returns: they should shore up their investees and build a robust pipeline for after the recovery. A business-as-usual approach to activities such as due diligence will not work given current travel restrictions. Digital and drone technologies, however, offer alternatives and could be ramped up to close the face-to-face gap created by the pandemic.