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1
Stotts, Daniel Brandon. "The Usefulness of Icons on the Computer Interface: Effect of Graphical Abstraction and Functional Representation on Experienced and Novice Users." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 42, no. 5 (October 1998): 453–57. http://dx.doi.org/10.1177/154193129804200502.
Повний текст джерелаАнотація:
Icons have become a main component of interface design (Familant & Detweiler, 1993). This study examined functional representation and graphical abstraction components of icons using experienced and novice computer users. Current interface (e.g. word processing) icons were evaluated in a search and select paradigm. Experienced participants were faster and more accurate than novice participants. Functionally representative and graphically concrete icons were recognized faster and more accurately than functionally arbitrary and graphically abstract icons, respectively. Experienced participants were affected more by graphical abstraction than novice participants. Graphically concrete and functionally representative icons were recognized faster than any other type of icon in the study. These data suggest when creating icons, the icons should be made to look as much like the object of reference as possible.
2
Rahrovani, Sanaz, Mahdieh Mirzabeigi, and Javad Abbaspour. "The concreteness of searching module icons and their effectiveness in digital library applications." Electronic Library 36, no. 5 (October 1, 2018): 800–810. http://dx.doi.org/10.1108/el-10-2017-0227.
Повний текст джерелаАнотація:
Purpose This study aims to investigate the relationship between the concreteness of searching module icons and their effectiveness in Iranian digital library applications. Design/methodology/approach This study was a correlational survey whose participants consisted of two groups, namely, users and experts. The former consisted of 174 users, all of whom were included because of their scarcity, and the latter included ten experts of knowledge and information science. First, the effective and non-effective icons were identified by users. Then, their concreteness was investigated by the expert participants. Findings The results of the study showed a significant relationship between the concreteness of icons and their effectiveness, meaning that the more concrete, the more effective the icon was, and vice versa. Furthermore, it was shown that the effective icons were representational and semi-abstract, whereas non-effective ones were very abstract. Practical implications The designers, especially digital library practitioners, should use icons that distinguish themselves as effective icons, and avoid using non-effective ones. It is suggested that they apply representational icons more. Social implications The designers of mobile interfaces and public environments, such as social networks, transportation systems and so forth, can use icons in their user interfaces that are more effective when they are perceived with more concreteness. Originality/value The investigation of the relation between the concreteness of icons and their effectiveness may help determine effective and non-effective icons. It can also be of help to designers to satisfy user needs and improve their site’s performance through using effective icons.
3
Nolan, Peter R. "Designing Screen Icons: Ranking and Matching Studies." Proceedings of the Human Factors Society Annual Meeting 33, no. 5 (October 1989): 380–84. http://dx.doi.org/10.1177/154193128903300532.
Повний текст джерелаАнотація:
Two studies from a screen icon testing program are reported. An appropriateness ranking study is a preliminary procedure that screens several candidate designs and results in a single image content for each icon. Subjects preferred the more concrete icons to the more abstract ones. Familiar image content was also preferred. The matching study determined how well the icons worked as a related set, and how likely it is that individual icons would be confused with each other. The icons for Clock, Drawing, and Voice score high on correct and low on incorrect. The symmetric and asymmetric confusions are identified and explained in terms of visual and conceptual similarity. There is a discussion of the methodology used.
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Taylor, Matthew A., Airan Li, Jamie L. Estock, Monique Y. Boudreaux-Kelly, Ivan Thibault Pham, and Maureen C. Casey. "Preferred Terms and Icons for Labels on Electrosurgical Units: Survey of VA Nurses." Biomedical Instrumentation & Technology 53, no. 2 (March 1, 2019): 102–9. http://dx.doi.org/10.2345/0899-8205-53.2.102.
Повний текст джерелаАнотація:
Abstract Electrosurgical units (ESUs) developed by different manufacturers use varying terminology and icons to label the same components, which can result in confusion among users and the potential for erroneous ESU configuration. The objective of the current study was to identify nurse-preferred terms and icons for labeling ESU components. A total of 165 operating room (OR) nurses from Veterans Health Administration facilities across the United States were surveyed regarding terms and icons found on 25 ESU models. The results showed that 81% of OR nurses preferred ESUs that included both a term and an icon for labeling each component. In addition, greater consensus existed among OR nurses regarding preferred terms, rather than preferred icons, for representing each component. These findings on OR nurses' preferred terms and icons can be leveraged to improve ESU labeling practices and inform the development of a standardized, user-centered set of labels for ESU components.
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Salmond, Wendy. "Viktor Vasnetsov’s New Icons." Experiment 25, no. 1 (September 30, 2019): 131–44. http://dx.doi.org/10.1163/2211730x-12341334.
Повний текст джерелаАнотація:
Abstract This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Spas nerukotvornyi [Savior Not Made by Human Hands] Church at Abramtsevo in 1880-81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was bitterly attacked in advanced art circles. Yet Vasnetsov’s new icons were increasingly linked with popular culture and the many copies made of them in the late Imperial period suggest that his hybrid image spoke to a generation seeking a resolution to the dilemma of how modern Orthodox worshippers should pray.
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Reed, Jacob R., Susan A. Jasko, and Jason C. Senkbeil. "Weather Forecast Semiotics: Public Interpretation of Common Weather Icons." Weather, Climate, and Society 14, no. 1 (January 2022): 323–35. http://dx.doi.org/10.1175/wcas-d-21-0067.1.
Повний текст джерелаАнотація:
Abstract Weather icons are some of the most frequently used visual tools that meteorologists employ to communicate weather information. Previous research has shown a tendency for the public to make inferences about weather forecast information on the basis of the icon shown. For example, people may infer a higher likelihood of precipitation, assume a higher intensity of precipitation, or determine the duration of expected precipitation if the weather icon appears to show heavy rain. It is unknown to what extent these inferences align with what the meteorologist who chose the icon intended to convey. However, previous studies have used simulated weather icons rather than ones currently in use. The goal of our study was to explore how members of the public interpret actual weather icons they see on television or in mobile applications. An online survey distributed by broadcast meteorologists through social media was used to collect 6253 responses between August and September of 2020. Eleven weather icons currently used by broadcast meteorologists were included in the study. We also tested eight common weather phrases and asked people whether they thought the icons were good illustrators of those phrases. In addition, people were asked to assign a probability of precipitation to the icons. The findings of our study offer new and unique insights that will improve the communication of weather information by giving meteorologists information about how their audiences interpret weather icons. Significance Statement Millions of people are shown weather icons during daily weather broadcasts. This study used two approaches to determine whether these icons are effective elements of weather messaging. For the first approach, we showed people an icon alongside a common weather phrase and had them tell us whether the icon was a good illustrator of the weather phrase. The second approach involved showing people an icon and having them assign a probability of precipitation to it. Across eight weather phrases, none of the icons were thought to be good illustrators, but bad illustrators were clear. These results can be used to improve how icons are used as tools to communicate weather forecasts.
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Slagle, Amy A. "Icons in the Lived Experience of American Orthodox Christians." Canadian-American Slavic Studies 53, no. 3 (August 27, 2019): 364–83. http://dx.doi.org/10.1163/22102396-05303009.
Повний текст джерелаАнотація:
Abstract This article explores how American Orthodox Christians today use and interpret icons in the course of their everyday devotional lives. Drawing upon ethnographic data collected through participant observation and interviews with parishioners of an Orthodox Church in Mississippi in 2015, I highlight the ways that diverse and multiple media within a wider American context of “buffet-style” spiritual appropriation affect informant considerations of and interactions with icons. Fundamental to this article is the tension between informants’ experiences with icons as the conveyance of divine “presence” and the concerns they express over the extent to which American commodification and mass-media cultures threaten the status and sacrality of images in Orthodox devotional practice.
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Gayer, William W. "The SonicFinder: An Interface that Uses Auditory Icons (Abstract Only)." ACM SIGCHI Bulletin 21, no. 1 (August 1989): 124. http://dx.doi.org/10.1145/67880.1046601.
Повний текст джерела
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Lin, Rungtai, and John G. Kreifeldt. "Understanding the Image Functions for Icon Design." Proceedings of the Human Factors Society Annual Meeting 36, no. 4 (October 1992): 341–45. http://dx.doi.org/10.1177/154193129203600417.
Повний текст джерелаАнотація:
Because icons vary from very representational to extremely abstract symbols in a user interface, an important issue faced by designers when designing an icon is how to select an appropriate design style for the image. There are no simple rules that can be followed by designers to determine the design style. The present study is intended to help designers to choose a proper design style for the icon at an early design stage. First, a classification of icons is summarized and the levels of stylization are discussed and demonstrated with examples. Then, thirty icons from several drawing packages and generally used symbols are selected, and a matching test is conducted to obtain the correct matching rates. The results are presented with some explanations for icon recognition and confusion, and finally how to select the right image function for icon design is discussed.
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Blattner, Meera M., Denise A. Sumikawa, and Robert M. Greenberg. "Earcons and Icons: Their Structure and Common Design Principles (Abstract only)." ACM SIGCHI Bulletin 21, no. 1 (August 1989): 123–24. http://dx.doi.org/10.1145/67880.1046599.
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Belz, S. M., J. J. Winters, G. S. Robinson, and J. G. Casali. "Representative Auditory Warning Signals: Methodological Considerations for Their Development and Selection." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 44, no. 22 (July 2000): 682–85. http://dx.doi.org/10.1177/154193120004402249.
Повний текст джерелаАнотація:
The work focuses on an initial effort to develop a selection methodology (Free Meaning Response, Perceived Urgency, and Perceived Association with an experimenter-selected meaning) for representative auditory warnings, also known as “auditory icons”, a new class of auditory warning signals. Further, the need to consider population differences and testing environment when using the above methodology is experimentally demonstrated. Finally, hypotheses related to situations where representative auditory warning signals may/may not be most effective, specifically, issues related to masking (when the noise and signal spectra are similar) and the conveyance of abstract ideas (very difficult with auditory icons) are presented.
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Briones-Fourzán, Patricia, and Enrique Lozano-Álvarez. "Lobsters: ocean icons in changing times." ICES Journal of Marine Science 72, suppl_1 (June 23, 2015): i1—i6. http://dx.doi.org/10.1093/icesjms/fsv111.
Повний текст джерелаАнотація:
Abstract The 10th International Conference and Workshop on Lobster Biology and Management was held in Cancún, Mexico, in May 2014. The papers included in this supplementary issue of the ICES Journal of Marine Science are a sample of the multidisciplinary nature of the conference and provide new knowledge of the biology, ecology, fisheries, and management and aquaculture of clawed, spiny, and slipper lobsters. The emphasis of the conference was climate change and its consequences for lobster biology, population dynamics, ecology, and fisheries. As noted in several papers, climate change is already affecting different lobster species by altering growth rates, sizes at maturity, the timing of reproductive processes, duration of larval development, and the timing and levels of settlement; by affecting key benthic habitat-forming species in settlement habitats; by increasing the risk of disease and impacting the behavioural ecology of lobsters, and by changing the spatial distribution of the stocks and, hence, affecting catches and the territorial behaviour of fishers. Other issues addressed at the conference included aquaculture and enhancement—the holy grails of lobster management—sustainable management strategies, and a fascinating review of the use of lobsters through human history. In addition to their economic importance, lobsters continue to provide valuable information to understand different marine environments in a changing climate.
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Zhao, Yizhou, Liang Qiu, Pan Lu, Feng Shi, Tian Han, and Song-Chun Zhu. "Learning from the Tangram to Solve Mini Visual Tasks." Proceedings of the AAAI Conference on Artificial Intelligence 36, no. 3 (June 28, 2022): 3490–98. http://dx.doi.org/10.1609/aaai.v36i3.20260.
Повний текст джерелаАнотація:
Current pre-training methods in computer vision focus on natural images in the daily-life context. However, abstract diagrams such as icons and symbols are common and important in the real world. We are inspired by Tangram, a game that requires replicating an abstract pattern from seven dissected shapes. By recording human experience in solving tangram puzzles, we present the Tangram dataset and show that a pre-trained neural model on the Tangram helps solve some mini visual tasks based on low-resolution vision. Extensive experiments demonstrate that our proposed method generates intelligent solutions for aesthetic tasks such as folding clothes and evaluating room layouts. The pre-trained feature extractor can facilitate the convergence of few-shot learning tasks on human handwriting and improve the accuracy in identifying icons by their contours. The Tangram dataset is available at https://github.com/yizhouzhao/Tangram.
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Miklaszewska, Joanna. "The Idea of an ‘Icon in Sound’ in the Works of John Tavener." Liturgia Sacra 57, no. 1 (July 9, 2021): 217–31. http://dx.doi.org/10.25167/ls.3934.
Повний текст джерелаАнотація:
Abstract
The aim of this article is to present an innovative concept of the ‘icon in sound’ created by the English composer John Tavener. The first part of the article presents the intermedial and intertextual features of Tavener's work, the second shows the genesis of the concept of ‘icon in sound’, to which three factors have contributed: 1) the composer’s interest in religious topics in his pieces, 2) the composer’s conversion to Orthodoxy, 3) collaboration with Mother Tekla, the author of the texts of many Tavener’s works.
The last, third part of the article describes issues related to the formal structure and musical symbolism present in Tavener’s musical icons. The composer refers to painted icons by composing works characterised by static form and the expression of spirituality, mysticism and inner peace. These features result from the juxtaposing of melismatic structures, inspired by Byzantine music, with repetitive technique and dynamics often characterised by a low intensity. One characteristic of Tavener’s sound icons is a ‘luminous’ sound, achieved through the use of high registers of voices and instruments, which are combined with contemplative and lyrical expression. An important feature of John Tavener’s musical icons was the introduction of archaic elements, resulting primarily from the inspiration that the composer drew from the musical culture of the Orthodox Church (eg the use of Byzantine scales in Mary of Egypt, the introduction of instruments such as simantron in Mary of Egypt).
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Somantri, Lili. "Indonesian spatial intelligence for geography teachers." JPPI (Jurnal Penelitian Pendidikan Indonesia) 8, no. 2 (July 15, 2022): 267. http://dx.doi.org/10.29210/020221355.
Повний текст джерелаАнотація:
Geography subjects study objects and spatial phenomena on the earth's surface; Therefore, in practice, they must understand the application of abstract concepts that include spatial perception. This research uses qualitative research methods in measuring the spatial intelligence of geography teachers. Measurements based on four indicators reflecting spatial intelligence are 1) Blind Map; 2) Natural Resources; 3) Icons or landmarks; and 4) Human resources. Based on the study results, it can be concluded that the spatial intelligence of geography teachers mostly has good spatial intelligence. This is indicated by the results of the analysis in 4 categories, namely 1) the results of the analysis show that the ability of geography teachers in blind map knowledge regarding regional locations in Indonesia is fairly good; 2) the ability of geography teachers in natural resource knowledge regarding the distribution of natural resource locations in Indonesia is quite good; 3) the ability of the geography teacher in knowledge of icons or landmarks regarding the icons or landmarks of districts/cities in Indonesia is fairly good; and 4) the ability of geography teachers in human resource knowledge regarding the distribution of ethnicities and cultures in Indonesia is fairly good.
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Al-Fedaghi, Sabah S., and Ghadeer Aldamkhi. "Conceptual Modeling of an IP Phone Communication System." International Journal of Interdisciplinary Telecommunications and Networking 13, no. 3 (July 2021): 83–94. http://dx.doi.org/10.4018/ijitn.2021070106.
Повний текст джерелаАнотація:
In computing, a network generally denotes devices, often referred to as nodes, connected by links. Networks that are modeled with diagrams consist of hundreds of symbols, images, pictures, and icons, such as a computer, a server rack, or a cloud-based storage system. Network representations provide valuable insights into understanding the systems' underlying structures and mechanisms. Nevertheless, this unusually large number of superficial symbols and icons reflects a need for more systematic representations of the interiority of nodes. To give uniformity to this cascade of notions of basic units of nodes in network diagrams, the authors propose adoption of a new modeling methodology, called a thinging (abstract) machine (TM) (abstract machine of things) that represents all notions as a single diagrammatic machine. Because of the large number of network types, in this paper, they specifically and without loss of generality focus on IP telephone (internet protocol telephone) networks to exemplify communication networks. A real case study of IP telephone networks is modeled using TM.
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Kroshkina, Lidia. "Book abstract: Plekon М. Living Icons : Persons of Faith in the Eastern Church". Quarterly Journal of St. Philaret's Institute, № 40 (2021): 277–85. http://dx.doi.org/10.25803/26587599_2021_40_277.
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Zhu, Yanfei, Ying Li, Yun Lin, Mo Chen, Qi Guo, and Zhisheng Zhang. "Research on the Influence of User and Graphic–Text Combined Icon Construal Level Fitting on Visual Cognition." Applied Sciences 12, no. 19 (October 8, 2022): 10111. http://dx.doi.org/10.3390/app121910111.
Повний текст джерелаАнотація:
Based on the individual traits of the user’s construal level differences, this study examines the visual cognition differences of graphic–text combined icon concreteness in the interface between users with high and low construal levels. We classified four types of graphic–text combined icons, which are as follows: concrete graphic + concrete text (Ci + Ct), concrete graphic + abstract text (Ci + At), abstract graphic + concrete text (Ai + Ct), and abstract graphic + abstract text (Ai + At). According to the behavioral experiment results, there is no visual cognitive difference between the two types of traits users in Ci + Ct. In terms of Ci + At and Ai + Ct, the visual cognitive performance of high construal level users is slightly better than that of low construal level users. In Ai + At, there are obvious visual cognitive differences between the two types of users. Visual cognitive fluency plays a mediating role in response time and matching rates of the two types of users. Based on the construal level perspective, this study considers the visual cognitive differences based on the user’s stable traits. It provides a certain reference for the graphic–text combined icons’ design in the adaptive human–computer interaction interface.
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Fadhilla, Indah, Uliana Hidayatika, Hanna Hanifa Hira, Hanan Farihah, and Ainatun Nabilah. "Ikon, Indeks, dan Simbol pada Cerpen Sesat Pikir Para Binatang Karya Triyanto Triwikromo." REFEREN 1, no. 2 (November 30, 2022): 137–48. http://dx.doi.org/10.22236/referen.v1i2.10317.
Повний текст джерелаАнотація:
Abstrak
Pembahasan dalam penelitian ini adalah mengenai ikon, indeks, dan simbol dalam cerpen “Sesat Pikir Para Binatang” karya Triyanto Triwikromo. Tujuan penelitian ini adalah untuk mengetahui berbagai tanda dalam bentuk ikon, indeks, dan simbol di cerpen “Sesat Pikir Para Binatang” karya Triyanto Triwikromo dan mengungkapkan makna atau amanat yang dapat diambil dari bentuk simbol. Penelitian ini menggunakan metode kualitatif dengan pendekatan deskriptif. Tahapan yang peneliti lakukan adalah proses pengumpulan data, proses analisis data, dan penyajian hasil analisis data. Penelitian ini menemukan bahwa terdapat ikon, indeks, dan simbol dalam cerpen “Sesat Pikir Para Binatang“ karya Triyanto Triwikromo untuk menggambarkan kemiripan antara naluri manusia dan insting binatang seperti kebuasan, kelabilan, dan keangkuhan. Penggambaran kemiripan ini bertujuan untuk mengkritik tingkah laku atau perilaku buruk manusia.
Kata kunci: Ikon; Indeks; Simbol; Insting binatang; Naluri manusia
Abstract
The discussion in this study is about icons, indexes, and symbols in the short story "Sesat Pikir Para Binatang" by Triyanto Triwikromo. The purpose of this study was to find out the various signs in the form of icons, indexes, and symbols in the short story "Sesat Pikir Para Binatang" by Triyanto Triwikromo and reveal the meaning or mandate that can be taken from the form of symbols. This study uses a qualitative method with a descriptive approach. The stages that the researchers did were the data collection process, the data analysis process, and the presentation of the data analysis results. This study found that there are icons, indexes, and symbols in the short story "Sesat Pikir Para Binatang" by Triyanto Triwikromo to describe the similarities between human instincts and animal instincts such as savagery, instability, and arrogance. The depiction of this resemblance aims to criticize human behavior or bad behavior.
Keywords: Icons; Index; Symbol; Animal instinct; Human instinct
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Clemmer, Richard. "Operationalizing Peirce’s Syllabus in terms of icons and stereotypes." Semiotica 2021, no. 239 (February 4, 2021): 265–85. http://dx.doi.org/10.1515/sem-2018-0152.
Повний текст джерелаАнотація:
Abstract Peirce’s Syllabus is examined and used to interpret metaphoric iconic stereotypes applied to Indigenous people: “noble savage,” “bloodthirsty savage,” “domestic dependent nation,” “vanishing race,” “Indian tribe,” and “ecological Indian.” Efforts on the part of the Indigenous to replace the these stereotypes with different icons such as “Native American,” “First Nations,” and, most recently, “water protectors,” are also examined. The usefulness of representamen categories from Peirce’s Syllabus, “rhematic,” “Argument,” “dicent,” “indexical,” “qualisign,” “legisign,” and “sinsign,” is demonstrated. Greimas’ observations about the functions of modalities are brought in to explain how graphic images and portraiture, fictional and memoir narratives, legal discourses, and popular media representations implement various sections of the Syllabus. Putting Peirce’s Syllabus into action confirms its ability to perform dynamic, diachronic, and diagrammatic functions.
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Angheluță, L. M., and R. Rădvan. "MACRO PHOTOGRAMMETRY FOR THE DAMAGE ASSESSMENT OF ARTWORK PAINTED SURFACES." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 20, 2019): 101–7. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-101-2019.
Повний текст джерелаАнотація:
<p><strong>Abstract.</strong> In this paper we are presenting our approach and workflow for macro photogrammetry as a complementary method for 3D digitization of polychromies on wood support. Macro photogrammetry can be used for detailed documentation of physical damages in painting layers, underlayers or support. For a better presentation of the context, a selection of typical physical damages, relevant to this study, are explained. Two case studies are presented. Two wooden icons realized with different techniques and presenting different types of physical deterioration. The experiments detailed within this paper represent the first epoch of long-term monitoring of the restoration interventions for each of these icons. All the stage of our workflow is thoroughly detailed with acquisition parameters and processing settings in order to better understand the results and where things can be improved. For each icon a full body photogrammetry process is described, followed by macro photogrammetry on smaller selected areas on the icons' surfaces. Macro magnifications of 1&thinsp;:&thinsp;1 and 2&thinsp;:&thinsp;1 are obtained by using a dedicated macro lens and extension rings. Lighting setups and focus stacking process are also described for a better understanding of the parameters and settings used.</p>
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Jylhä, Henrietta, and Juho Hamari. "Development of measurement instrument for visual qualities of graphical user interface elements (VISQUAL): a test in the context of mobile game icons." User Modeling and User-Adapted Interaction 30, no. 5 (May 17, 2020): 949–82. http://dx.doi.org/10.1007/s11257-020-09263-7.
Повний текст джерелаАнотація:
Abstract Graphical user interfaces are widely common and present in everyday human–computer interaction, dominantly in computers and smartphones. Today, various actions are performed via graphical user interface elements, e.g., windows, menus and icons. An attractive user interface that adapts to user needs and preferences is progressively important as it often allows personalized information processing that facilitates interaction. However, practitioners and scholars have lacked an instrument for measuring user perception of aesthetics within graphical user interface elements to aid in creating successful graphical assets. Therefore, we studied dimensionality of ratings of different perceived aesthetic qualities in GUI elements as the foundation for the measurement instrument. First, we devised a semantic differential scale of 22 adjective pairs by combining prior scattered measures. We then conducted a vignette experiment with random participant (n = 569) assignment to evaluate 4 icons from a total of pre-selected 68 game app icons across 4 categories (concrete, abstract, character and text) using the semantic scales. This resulted in a total of 2276 individual icon evaluations. Through exploratory factor analyses, the observations converged into 5 dimensions of perceived visual quality: Excellence/Inferiority, Graciousness/Harshness, Idleness/Liveliness, Normalness/Bizarreness and Complexity/Simplicity. We then proceeded to conduct confirmatory factor analyses to test the model fit of the 5-factor model with all 22 adjective pairs as well as with an adjusted version of 15 adjective pairs. Overall, this study developed, validated, and consequently presents a measurement instrument for perceptions of visual qualities of graphical user interfaces and/or singular interface elements (VISQUAL) that can be used in multiple ways in several contexts related to visual human-computer interaction, interfaces and their adaption.
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Perry, Nathan C., Catherine J. Stevens, Mark W. Wiggins, and Clare E. Howell. "Cough Once for Danger: Icons Versus Abstract Warnings as Informative Alerts in Civil Aviation." Human Factors: The Journal of the Human Factors and Ergonomics Society 49, no. 6 (December 2007): 1061–71. http://dx.doi.org/10.1518/001872007x249929.
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Lee, Seunghye. "Korea's First Museum and the Categorization of “Buddhist Statues”." Sungkyun Journal of East Asian Studies 21, no. 1 (May 1, 2021): 51–81. http://dx.doi.org/10.1215/15982661-8873892.
Повний текст джерелаАнотація:
Abstract The establishment of a museum in the precinct of Ch'anggyŏnggung Palace in 1909 marked an important moment in the historiography of Korean art. Although recent studies have examined the founding, organization, and financing of the first Korean museum, the formation of its Buddhist art collection and its historical implications remain unexamined. Given that not a single Buddhist temple was allowed to exist within the capital city, the entry of these objects into the palace demonstrates a radical paradigm shift in the royal court's relation to Buddhist icons. The museum's Buddhist art collection reveals what was available in the art market of the time and what was considered worthy of being collected in a royal museum. Through close examination of Korea's first museum and its collection, this study traces the recontextualization of religious icons into art objects and the historical implications behind the category of “Buddhist statues.”
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Ghosh, Ranjusri. "Newly Discovered Śaiva-Ascetic Icons from West Bengal." Archives of Asian Art 71, no. 1 (April 1, 2021): 93–122. http://dx.doi.org/10.1215/00666637-8866689.
Повний текст джерелаАнотація:
Abstract Koṭivarṣa, a sacred place and an administrative unit that is mentioned in early medieval Indian religious and epigraphic sources from 700 to 1200 ce, is the area of focus of this essay. As an administrative unit, it was almost coterminous with the old Dinajpur district of Bengal, which is now divided into the present Indian state of West Bengal and Bangladesh. At one point in time, its headquarters came to be known as Devīkoṭa, underscoring its rise as a prime place for Devī, the Mother goddess. Sculptural arrays of the Mother goddess from this place point to the domineering presence of her fearsome principles; they parallel textual descriptions about the sacred importance of a wrathful form of the Mother, normally referred to as Cāmuṇḍā. The religious texts, however, do not speak of the ascetics who might have performed the rituals to propitiate the Mother. We do not yet know if any new dimension was added to the corpus of rituals, and the Śiva-Śakti power equation after the Saiddhāntika Śaiva preceptors affiliated with Golagī great monastery of Durvāsas lineage entered Devīkoṭa at the end of the tenth century. This essay searches for answers in the visual elements on the lower registers of stone steles, such as the devotees/donors, other individuals in the service of the Mother Goddess, potfuls of offerings, and the environment of cremation grounds in which worship took place. The main deity and associated figures occupying the larger space in the middle of the steles have tantric content. Icons of Śaiva ascetics from West Bengal, including the three newly discovered examples, are important subjects for this essay, which concludes with the transformation of Devīkoṭa to Bangarh, where Śiva emerged as the chief god par excellence. The Devī had lost her koṭa, her bastion, forever.
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Heliasz-Nowosielska, Celina. "Interactional gestures as soccer celebrations." Gesture 20, no. 1 (November 22, 2021): 63–102. http://dx.doi.org/10.1075/gest.19023.hel.
Повний текст джерелаАнотація:
Abstract The article presents a variety of gesture types used as celebrations during or after soccer matches and explains the forms, meaning, reference and functions of the gestures as a semiotic phenomenon. The qualitative analysis of media images and comments on celebratory performances shows that pre-planned, creative celebrations, including trademarks or signatures, which have recently overshadowed spontaneous, conventionalized displays of affect, take the form of interactional gestures of different types: performatives, regulators, pointing, icons, metaphors, pantomime, emblems or signs, as well as the form of compositions of gestures, such as icons and pointing. During the match, gestures of all the above types serve to display affects and take on other new functions. Also, even gestures like regulators, identified in literature as conversational ones, are used without the accompanying speech. A disintegrated speech context for the interpretation of the meaning and reference of celebratory gestures is provided in after-match media discourse.
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Vayo, Brendon K. "‘Made the absence shout’: paradox as iconoclasm in Toni Morrison’s Beloved." Journal of Literary Semantics 51, no. 1 (April 1, 2022): 19–36. http://dx.doi.org/10.1515/jls-2022-2048.
Повний текст джерелаАнотація:
Abstract In 1856, Margaret Garner murdered one child, and attempted to murder three others, rather than return them to slavery. Despite the impact traumas like Garner’s had on abolition, history largely forgets or ignores these gruesome details. In their place come racialist markers that obscure Garner’s likeness. Thomas Satterwhite Noble’s The Modern Medea, for example, depicts Garner with a head wrap and wild eyes. Visual cues such as these perpetuate an undifferentiating representation of Garner, categorized as something between asexual “mammy” and angry “slave.” I argue that Toni Morrison recovers Garner by reconfiguring what Hayden White terms the “historical account” with icons to connote paradoxical significations. Like paradoxes, these icons simultaneously embody complementary and yet oppositional significations without one privileged over the other. Morrison’s historiography thus produces in simultaneity a history told and repealed, which functions iconoclastically not only to engravings such as The Modern Medea but also to the linguistic system that structures an incomplete and surreptitious “historical account.”
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Domsch, Sebastian. "Staging Icons, Performing Storyworlds – From Mystery Play to Cosplay." Acta Universitatis Sapientiae, Film and Media Studies 9, no. 1 (December 1, 2014): 125–29. http://dx.doi.org/10.1515/ausfm-2015-0006.
Повний текст джерелаАнотація:
Abstract One of the oldest complex forms of intermediality is the static live-performance adaptation of the iconographic qualities of well-known stories. Early examples of this phenomenon are the depictions of biblical scenes in the form of grand (and largely static) tableaux in medieval Mystery Plays, very popular until the emergence of the professional entertainment stage. The nineteenth century had its fascination with the tableaux vivants - not coincidentally during the time that photography was introduced - and the late twentieth century saw the beginning of the newest variety with cosplay, which has by now become a global cultural phenomenon. Cosplay, the activity of fans dressing up and posing in a visually recognizable way as characters from popular media franchises such as manga, anime, or TV series, developed from role-playing activities into its current, highly ritualized static form through its symbiosis with amateur photography. This paper wants to first analyse the underlying art form in its historical varieties from an intermedial perspective, and in connection with that, it will explore the deeper philosophical significance of this practice, looking particularly at the role of embodiment.
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Oliveira, Renata Couto de Azevedo de. "Carmen Miranda: um Ícone de Mercado Incorporado." Organizações & Sociedade 29, no. 100 (January 2022): 51–73. http://dx.doi.org/10.1590/1984-92302022v29n0002pt.
Повний текст джерелаАнотація:
Abstract Building upon the CCT framework of incorporation of ideologies, taste regimes, and national and regional interests by consumer cultures, this paper proposes that social and political ideologies are also embodied in marketplace icons. This paper aims, then, to bring together the concepts of iconicity and liminality to provide an account of Carmen Miranda as a marketplace icon who not only embodied the national myths of her time but also continues to be employed in the current marketplace for a variety of purposes. As such, icons like Carmen contribute to the production of marketplaces in which historical, political, and ideological issues are naturalized. Carmen’s collaboration via cultural industries such as radio and cinema, her omnipresence in advertising campaigns and in the printed media, and her influence on female fashion contributed to the consumer culture of her time. Moreover, the mythical character of her persona and her cultural legacy hold an expressive symbolic power, making her a remarkable contemporary marketplace icon. The key to her iconicity is her liminality; unsettling hierarchies, traversing social planes, and questioning identity. As a marketplace icon, Carmen’s legacy is thus constantly reissued, founded upon the ambivalence of her persona and signaling her transgressive potential.
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Syofiadisna, Panji. "MAKNA TIGA IKON GAJAH DI DALAM GEREJA SAINT PIERRE AULNAY PRANCIS." KALPATARU 29, no. 1 (July 16, 2020): 51–64. http://dx.doi.org/10.24832/kpt.v29i1.739.
Повний текст джерелаАнотація:
Abstract. Saint Pierre Aulnay Church is a Romanic-style church (Romanesque) that was built in the 12th century and is located in the Aquitaine Region, France. In this church, there are three elephant icons in the capital columns section. At the top of the icon, there is also an inscription in Roman that reads "HI SVNT ELEPHANTES" which means "this is an elephant-elephant". This unique sentence and elephant icon is not found in other Romanic-style churches in France. Elephants are not native to Europe, but elephant icons are produced in European (French) churches. During Medieval, some churches were found to have icons of animals or mythological creatures that were placed in several parts of the church. The icons of the animals are connected with the character of Jesus and are called bestiaries. The problem that will be answered in this research is what is the meaning contained in the elephant icon with the words "HI SVNT ELEPHANTES". The review in this study is the history of iconography and emphasizes the themes, concepts, styles, and meanings of icons. The theory used to analyze the problem put forward is the iconography and iconology of Erwin Panofsky. The results of this interpretation will be compared with the meaning of elephants in the archipelago at the same time.
Keywords: Bestiary, Church of Saint Pierre Aulnay, Elephant Icon, Medieval, French, Physiologus, Jesus
Abstrak. Gereja Saint Pierre Aulnay adalah gereja bergaya Romanik (Romanesque) yang dibangun pada abad ke-12 dan terletak di Region Aquitaine, Prancis. Di dalam gereja ini terdapat tiga ikon gajah pada bagian capital columns. Pada bagian atas ikon terdapat pula inskripsi dalam bahasa Romawi yang bertuliskan “HI SVNT ELEPHANTES” yang artinya “ini adalah gajah-gajah”. Uniknya kalimat dan ikon gajah ini tidak ditemukan pada gereja bergaya Romanik lain di Prancis. Gajah bukan hewan asli Eropa namun ikon gajah diproduksi di gereja Eropa (Prancis). Pada masa Medieval memang didapati sejumlah gereja memiliki ikon-ikon hewan atau makhluk mitologi yang ditempatkan pada beberapa bagian gereja. Ikon dari hewan-hewan itu terhubung dengan karakter Yesus dan dinamakan bestiary. Masalah yang akan dijawab pada penelitian ini yaitu apa makna yang terkandung pada ikon gajah dengan tulisan “HI SVNT ELEPHANTES”. Tinjauan dalam penelitian ini bersifat sejarah ikonografi dan ditekankan pada tema, konsep, gaya, serta makna dari ikon. Teori yang dipakai untuk menganalisis masalah yang dikemukakan adalah ikonografi dan ikonologi dari Erwin Panofsky. Hasil dari pemaknaan ini akan dibandingkan dengan makna gajah di nusantara pada masa yang sama.
Kata kunci: Bestiary, Gereja Saint Pierre Aulnay, Ikon Gajah, Medieval, Physiologus, Yesus
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Marius, Munteanu, Ion Sandu, Ioana Huțanu, and Liliana Nica. "The Study of Stages and Operations Involved in the Preservation and Restoration of two XIX-th Century Icons, on Wooden Support." Present Environment and Sustainable Development 8, no. 2 (October 1, 2014): 131–50. http://dx.doi.org/10.2478/pesd-2014-0030.
Повний текст джерелаАнотація:
Abstract The paper presents the stages and the operations involved in the preservation and restoration of two icons on wooden support, from the XIX-th century, which are part of the heritage of the ”Sfinții Arhangheli Mihail and Gavriil” church, from Galați. The two icon have inventory numbers as part of the collection as followed: 112 for the first icon and 113 for the second one. Both icons have the same theme, ”The Grieving Mother from Rohia” and are made by anonymous painters in egg tempera, on lime wooden support, without ground. Being part of the same collection, they were deposited in the same place and as a direct consequence, they suffer from similar deteriorations and degradations that affect both the support and the painting layer. Both panels are attacked by xylophagous insects and the painting layer has detachments, gaps, cracks, clogged dirt and a cracked and degraded varnish layer. Ten samples taken from the already detached areas were analyzed by optical microscope, SEM-EDX and micro-FTIR. Based on the chemical elements identified in the EDX spectrums, the pigments used to create the painting layer are: ultramarine natural blue Na8-10Al6Si6O24S2-4, carbon black, earth green, K[(Al,FeIII),(FeII,Mg)](AlSi3,Si4)O10(OH)2, ocher (FeO), burned or natural umber Fe2O3· H2O + MnO2·n H2O+ Al2O3, lead white (2PbCO3·Pb(OH)2) and yellow iron oxide (Fe2O3·4H2O). It was also determined that the gold leaf usually used in byzantine icons was replaced in the case of both icons: the icon number 112 has silver leaf covered with varnish, while the halo of the icon number 113 was created with yellow metallic pigments (realgar or orpigment).The pigments were also identified by determining specific peaks in micro-FTIR spectrums. For natural ultramarine blue the peaks between 628 - 724 cm-1 were assigned; the peaks in the interval 795 - 887 cm-1 confirm the presence of carbonates (calcium and lead based). The earth green pigment (aluminum - silicates) had the peaks between 1464 - 1599, while the carbon black pigment was confirmed by the peaks in the interval 921 - 1060 cm-1. After the pigments and the materials used by the author were identified, the restoration process begun with the following stages: consolidation of the painting layer (fish glue 8% and japanese paper), stopping the xylophagous attack (encapsulation with nitrogen), consolidation of the wood supports (colophon and wax, 1:1), cleaning the painting layer (ethylic alcohol and distilled water, 1:1), filling the gaps and reintegrating the fillings in tratteggio, all followed by the process of varnishing the two icons.
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Barrett, T. H. "Literati Encomia on Embroidered Buddhist Icons, c.700-900 CE." NAN NÜ 25, no. 1 (March 7, 2023): 3–16. http://dx.doi.org/10.1163/15685268-02512016.
Повний текст джерелаАнотація:
Abstract This study examines all the surviving examples of short prose pieces written in praise of embroidery depicting Buddhist objects of worship between circa 700 and 900. The process whereby they were transmitted to the present is traced wherever possible, and the main themes are indicated by means of the identification of recurrent vocabulary items. Typically, the embroideries described are said to have been created by women for the posthumous benefit of their family members, both male and female; the male writers involved, whose work was generally deemed to possess literary merit, were usually connected by family or other ties to the creators of the embroideries. One or two pieces that seem to be less typical are also discussed, though the restriction of the total size of the corpus to a score of pieces by a handful of writers makes the task of establishing the scope of the conventions observed difficult to determine. But as a genre in which men praised the cultural production of women these texts may merit further research.
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Lin, Su-Chi. "Becoming the Past: Time and Memory in Stanley Fung’s Biblical Icons." Biblical Interpretation 28, no. 1 (March 12, 2020): 84–99. http://dx.doi.org/10.1163/15685152-00281p05.
Повний текст джерелаАнотація:
Abstract This paper analyzes a contemporary Taiwanese artist Stanley Fung’s portrait photography and his contextual biblical interpretation of time and memory: the experience of the coming of the kingdom can be lingered on in an artist’s imagination. As a biblical interpreter, Fung’s visual exegesis asks the viewer to reconsider how the historical consciousness of self and community together impact one’s sense of time. Fung uses clothing and plants to invoke the viewer’s longing for a new, local culture where the gospel can be dressed, and a new soil where it can be planted. Photography as a legitimate extension of the sacred text engages the viewer’s biblical imagination and demands a response. Eternal beings and Christian anthropology, as manifested in Fung’s work serve to remind us of the distinction between memory and the sacred, life and destruction, creation and redemption.
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Oliveira, Renata Couto de Azevedo de. "Carmen Miranda: an Embodied Marketplace Icon." Organizações & Sociedade 29, no. 100 (January 2022): 51–73. http://dx.doi.org/10.1590/1984-92302022v29n0002en.
Повний текст джерелаАнотація:
Abstract Building upon the CCT framework of incorporation of ideologies, taste regimes, and national and regional interests by consumer cultures, this paper proposes that social and political ideologies are also embodied in marketplace icons. This paper aims, then, to bring together the concepts of iconicity and liminality to provide an account of Carmen Miranda as a marketplace icon who not only embodied the national myths of her time but also continues to be employed in the current marketplace for a variety of purposes. As such, icons like Carmen contribute to the production of marketplaces in which historical, political, and ideological issues are naturalized. Carmen’s collaboration via cultural industries such as radio and cinema, her omnipresence in advertising campaigns and in the printed media, and her influence on female fashion contributed to the consumer culture of her time. Moreover, the mythical character of her persona and her cultural legacy hold an expressive symbolic power, making her a remarkable contemporary marketplace icon. The key to her iconicity is her liminality; unsettling hierarchies, traversing social planes, and questioning identity. As a marketplace icon, Carmen’s legacy is thus constantly reissued, founded upon the ambivalence of her persona and signaling her transgressive potential.
35
Krasniqi, Nysret. "The Philosophical Mea Culpa of the Icons of the Death of the Author." Problemos 95 (April 26, 2019): 105–16. http://dx.doi.org/10.15388/problemos.95.9.
Повний текст джерелаАнотація:
[full article, abstract in English; abstract in Lithuanian]
We will hereinafter discuss the author’s philosophy on gnoseological and historical premises. More precisely, by exploring the genealogy of the idea of the “Death of the Author” from modernism to postmodernism, we will analyse the concepts and ideologies that have become the stratagem of the denial of western literary canon, as well as the denial of equilibrium between philosophical and literary identity and universality. By treating the works of philosophers, authors, and fundamental semiologists who perpetuated the idea of the Death of the Author, we will observe how the latter gradually fled from the philosophy of doubt and as mea culpa admitted that without the author’s authority the philosophical and literary legacy is no longer the theatre of memory, but the abyss of oblivion. Moreover, with fundamental examples, we will observe the influence of this philosophy in the process of studying of the literature.
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Krasniqi, Nysret. "The Philosophical Mea Culpa of the Icons of the Death of the Author." Problemos 95 (April 26, 2019): 105–16. http://dx.doi.org/10.15388/10.15388/problemos.95.9.
Повний текст джерелаАнотація:
[full article, abstract in English; abstract in Lithuanian]
We will hereinafter discuss the author’s philosophy on gnoseological and historical premises. More precisely, by exploring the genealogy of the idea of the “Death of the Author” from modernism to postmodernism, we will analyse the concepts and ideologies that have become the stratagem of the denial of western literary canon, as well as the denial of equilibrium between philosophical and literary identity and universality. By treating the works of philosophers, authors, and fundamental semiologists who perpetuated the idea of the Death of the Author, we will observe how the latter gradually fled from the philosophy of doubt and as mea culpa admitted that without the author’s authority the philosophical and literary legacy is no longer the theatre of memory, but the abyss of oblivion. Moreover, with fundamental examples, we will observe the influence of this philosophy in the process of studying of the literature.
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Vasilieva, A. V., and V. A. Parfenov. "Identification of pigments of Russian icons by means of X-ray fluorescence spectroscopy." Journal of Physics: Conference Series 2086, no. 1 (December 1, 2021): 012172. http://dx.doi.org/10.1088/1742-6596/2086/1/012172.
Повний текст джерелаАнотація:
Abstract In this work the analysis of paint layers of Russian icons of the 16th-19th centuries was carried out by means of X-ray fluorescence spectroscopy. The data obtained on the elemental composition of pigments made it possible to identify them. Main problems of identification were described in this paper. The results of the research will be used to create a database of XRF-spectra of pigments, which were used by Russian icon painters of certain schools and time periods.
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Pruteanu, Silvea, Ion Sandu, and Viorica Vasilache. "Modern Procedures Used in Cleaning Old, Illegibly and Blackened Icons." Present Environment and Sustainable Development 9, no. 1 (May 1, 2015): 219–36. http://dx.doi.org/10.1515/pesd-2015-0016.
Повний текст джерелаАнотація:
Abstract In order to restore the original aesthetic aspect, to improve the state of the age patina and of the gold halo, similar processes are required. The cleaning process is one of the most important aspects for an artwork and is considering a series of deteriorations and degradations, like dirt deposits (clogged or unclogged) opalescent varnish, colors blackening, burns, blisters, gaps (missing ground, painting layer or varnish). This step in the restoration process includes physical and mechanical proceedings like dusting (with a vacuum), brushing (with a brush), scraping (with a scalpel), removal or polishing etc. The scalpel and the milling process are rough unconventional means that are used only in exceptional cases. The wet cleaning of dirt includes classic washing processes, with water or other complex systems of organic solvents (emollients, surface additives or surfactants, mixtures of solvents). Cleaning the clogged dirt deposits with unconventional methods can be done by means of electronic laser, ion and thermal exchange or ultrasounds. Laser cleaning is often used in removing unwanted dirt deposits from different layers of the art piece. A lot of attention goes towards the controlled elimination of the exterior protection layer (varnish), which can be photo- degraded and oxidized by atmospheric exposure. Visual analysis, with enlargers (OM, SEM, AFM etc.) combined with transmission or penetration techniques (radiography, endoscopy, X-ray diffraction etc.) provides information on the superficial structures of the art work. In order to determine the modifications of the desiccant oils, SEM was used to observed the changes in the morphology of the oil painting layers. Gas chromatography/mass spectrometry (GC/MS) can be used to detrmine detergent residues on the painting layer.
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Brecht, Mark, Paula Curtis, Jean Giacomi, and John Holly. "Ergonography™: Computer Graphics to Show how People and Equipment Work Together." Proceedings of the Human Factors Society Annual Meeting 29, no. 10 (October 1985): 953–57. http://dx.doi.org/10.1177/154193128502901012.
Повний текст джерелаАнотація:
Ergonographyl™ is a computer graphics tool for visualizing cooperative work involving people and equipment. Icons of people and equipment are arranged on time charts and space charts. The time charts show the sequence of tasks that produces results. The space charts show workspace arrangement and communications links. Ergonography charts can be used for design, decisionmaking, planning, sales, and training. Their pictorial nature solidifies abstract concepts and words. The charts communicate such concepts better than traditional flow diagrams that consist of only boxes and words.
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Hastuti, Nur, та Anggita Prameswari. "Citraan dan Relasi Trikotomi Dalam Lirik Lagu Ryuusei no Kakeru 『流星のカケラ』Karya GReeeeN". IZUMI 11, № 1 (4 червня 2022): 44–52. http://dx.doi.org/10.14710/izumi.11.1.44-52.
Повний текст джерелаАнотація:
Abstract Music is something that is universal and does not know the class of society, anyone can appreciate music even though he is not educated in the field of music. Music is used by many people as a medium to express themselves (can be in the form of ideas or values that they believe in), as well as entertainment because it contains lyrics that match the emotions that are being felt by someone, such as happy, sad, angry, nervous. , fear, jealousy, enthusiasm, ect. The objectives of this research are describing the imagery depicted in the lyrics and explaining the trichotomy relation contained in the lyrics of the song Ryuusei no Kakera by GReeeeN. Based on the results of research and discussion on the lyrics of the song Ryuusei no Kakera by GReeeeN are in the song Ryuusei no Kakera there are several types of imagery, namely 3 visual images, 1 tactile images, and 2 sensation images, consisting of feelings of love and peace.The trilogy relationships in this song are icons, indexes, and symbols. The icon in this song is monogatari or story. Then, there are two indexes found in this song. Meanwhile, the symbol used in this song is the ryuusei no kakera or meteor fragment. Keywords: GreeeeN, imagery , icons, indexes, song lyrics, symbols
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Marwanto, Aries Budi. "PERANCANGAN IKON WISATA BERBASIS POTENSI WILAYAH." Acintya Jurnal Penelitian Seni Budaya 12, no. 1 (July 27, 2020): 13–22. http://dx.doi.org/10.33153/acy.v12i1.3138.
Повний текст джерелаАнотація:
ABSTRAK Perancangan Ikon Wisata dilakukan di Embung “Mbah Mangun” Desa Juron, Kec. Nguter, Kab. Sukoharjo. Metode yang digunakan untuk merealisasikan rancangan dilakukan melalui metode eksplorasi, inspirasi dan elaborasi. Tahap eksplorasi meliputi pengumpulan data di lapangan, dokumentasi, kajian literatur dan wawancara. Tahap inspirasi dilakukan dalam pengembangkan gagasan atau pun konsep ide berdasarkan analisis data yang telah diperoleh. Tahap elaborasi pada kegiatan perancangan ini merupakan tahap kristalisasi ide dengan memperkuat konsep filosofi bentuk. Pada tahap ini sekaligus mempertimbangkan secara matang aspek-aspek realisasi perancangan yang berkaitan dengan tata letak ikon, material, konstruksi dan teknik perwujudan. Kata kunci: embung, ikon, wisata. ABSTRACT The design of the tourism icon is carried out in the “Mbah Mangun” Embung in Juron Village, Subdistrict Nguter, District Sukoharjo. The method used to realize the design is through exploration, inspiration and elaboration. The exploration includes data collection in the field, documentation, literature studies and interviews. Inspiration stage is carried out in developing ideas or concept of ideas based on the analysis of data that has been obtained. The elaboration stage in this design activity represents the crystallization of ideas by strengthening the concept of the philosophy of form. This stage also considers the aspects of design realization related to the layout of icons, materials, construction and embodiment techniques.Keywords: embung, icons, tour.
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Chatterjee, Arup K. "Mapping Icons of Victorian Femininity: Engendering London in Nineteenth-Century Indian Accounts." Interdisciplinary Literary Studies 24, no. 3 (September 1, 2022): 313–41. http://dx.doi.org/10.5325/intelitestud.24.3.0313.
Повний текст джерелаАнотація:
ABSTRACT Indian travelers in Victorian London began engaging with questions of nationhood, modernity, family, home, and gender roles within the ambit of reproducing the city’s imperial geography on increasingly gendered and sexist lines. The rise of Indian feminists like Sarojini Naidu, Cornelia Sorabji, Rukhmabai, and Princess Sophia notwithstanding, Indian men redrew London’s patriarchal contours. Drawing on a legacy of accounts by nineteenth-century Indian men, like T. N. Mukharji, Behramji Malabari, M. K. Gandhi, Lala Baijnath, T. B. Pandian, and G. P. Pillai, this article examines the maps of the geography of Victorian womanhood that they sought to reproduce. I argue that—while colonial travelers helped India derive administrative, bureaucratic, and architectural models—the geopolitical roots of postcolonial Indian patriarchy date back to ways in which an emotionally vulnerable Indian male gaze perceived Victorian Englishwomen. There is much to be troubled by the gendered relations that made imperial London and had an ominous afterlife in India, normalizing patriarchal expectations and codes of womanhood—a social malignancy whose etiology stems from structures of India’s colonial conflicts.
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Ulas, Behiye S., Merve Emirzeoglu, and Oliver Burgert. "Is Eye-Tracking a Feasible Interaction Paradigm for Large Displays in the Sterile Field?" Current Directions in Biomedical Engineering 8, no. 1 (July 1, 2022): 78–80. http://dx.doi.org/10.1515/cdbme-2022-0020.
Повний текст джерелаАнотація:
Abstract The paper describes how eye-tracking can be used to explore electronic patient records (EPR) in a sterile environment. As an information display, we used a system that we developed for the presentation of patient data and for supporting surgical hand disinfection. The eye-tracking was performed using the Tobii Eye Tracker 4C, and the connection between the eye-tracker and the HTML website was realized using the Tobii EyeX Chrome Extension. Interactions with the EPR are triggered by fixations of icons. The interaction was working as intended, but test persons reported a high mental load while using the system.
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Restall, Matthew. "2018 Presidential Address: The Trouble with “America”." Ethnohistory 67, no. 1 (January 1, 2020): 1–28. http://dx.doi.org/10.1215/00141801-7888671.
Повний текст джерелаАнотація:
Abstract This address reflects upon the ethical responsibility of ethnohistorians to consider the ongoing impact of historical depictions of indigenous peoples, in text and image, and our handling of those depictions. The essay draws in particular upon the historical mistreatment and misrepresentation of indigenous women, using Pocahontas and Malinche as examples of distorted icons, referencing the hidden history of the sixteenth-century trade in indigenous sex slaves in the Caribbean and Mesoamerica, and arguing that the Armed Freedom statue atop the US Capitol Building is an allegorical icon of the highly problematic, deeply rooted, gendered, and ethnoracialized construction of “America.”
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Dascăl, Reghina. "‘Dancing through the Minefield’: Canon Reinstatement Strategies for Women Authors." Gender Studies 14, no. 1 (December 1, 2015): 48–67. http://dx.doi.org/10.1515/genst-2016-0004.
Повний текст джерелаАнотація:
Abstract The paper explores the limiting and detrimental effects of biographical criticism and exceptionalism in the efforts of reinstating women authors into the Renaissance canon, by looking into the literary merits of Elizabeth Cary’s The Tragedy of Mariam, The Fair Queen of Jewry and The History of The Life, Reign and Death of Edward II. Whereas the conflation of biography and fiction is a successful recipe for canonization and for the production of feminist icons, it renders the text impotent because of its resulting inability to compete with or to be seen in correlation and interplay with other contemporary texts.
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Bucur, Bogdan G. "Sinai, Zion, and Tabor: An Entry into the Christian Bible." Journal of Theological Interpretation 4, no. 1 (2010): 33–52. http://dx.doi.org/10.2307/26421327.
Повний текст джерелаАнотація:
Abstract Building on the insights of Jon Levenson's work, Sinai and Zion: An Entry into the Jewish Bible, this article endeavors to show that a similar approach, which could be labeled "theophanic," has traditionally guided the Christian—perhaps especially the Eastern Orthodox—entry into the Bible. Relating the Sinai theophany and the transfiguration on Tabor was crucially important for early Christian theology. It underlay their appropriation of the Scriptures of Israel as "OT," it lent itself to polemical use against dualism and monarchianism, and it was eventually absorbed into Byzantine festal hymnography and thereby into the mainstream of theology as performed and experienced in liturgy. Similar interpretive strategies are at work in early Christian works and later Byzantine festal hymns and icons that take up theophanies centering on God's throne in Zion. After discussing hymns and icons dealing with Sinai, Zion, and Tabor, I argue that this type of exegesis is difficult to frame within the categories commonly used to describe patristic exegesis and that a more suitable category would be that of "rewritten Bible," current among scholars of the OT pseudepigrapha. I then examine the relationship between the Christology emerging from the hymns under discussion and the normative conciliar Christology. Finally, I sketch a few ways in which today's readers can benefit, both exegetically and theologically, from Byzantine hymnographic and iconographic exegesis.
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Bucur, Bogdan G. "Sinai, Zion, and Tabor: An Entry into the Christian Bible." Journal of Theological Interpretation 4, no. 1 (2010): 33–52. http://dx.doi.org/10.2307/jtheointe.4.1.0033.
Повний текст джерелаАнотація:
Abstract Building on the insights of Jon Levenson's work, Sinai and Zion: An Entry into the Jewish Bible, this article endeavors to show that a similar approach, which could be labeled "theophanic," has traditionally guided the Christian—perhaps especially the Eastern Orthodox—entry into the Bible. Relating the Sinai theophany and the transfiguration on Tabor was crucially important for early Christian theology. It underlay their appropriation of the Scriptures of Israel as "OT," it lent itself to polemical use against dualism and monarchianism, and it was eventually absorbed into Byzantine festal hymnography and thereby into the mainstream of theology as performed and experienced in liturgy. Similar interpretive strategies are at work in early Christian works and later Byzantine festal hymns and icons that take up theophanies centering on God's throne in Zion. After discussing hymns and icons dealing with Sinai, Zion, and Tabor, I argue that this type of exegesis is difficult to frame within the categories commonly used to describe patristic exegesis and that a more suitable category would be that of "rewritten Bible," current among scholars of the OT pseudepigrapha. I then examine the relationship between the Christology emerging from the hymns under discussion and the normative conciliar Christology. Finally, I sketch a few ways in which today's readers can benefit, both exegetically and theologically, from Byzantine hymnographic and iconographic exegesis.
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Buko, Andrzej, Tomasz Dzieńkowski, Stanisław Gołub, Mirosław P. Kruk, Marek Michalik, Aleksandr Musin, Grzegorz Osipowicz, Alicja Rafalska-Łasocha, and Marcin Wołoszyn. "Beyond Beauty. Byzantine steatite icon from Chełm. Archaeology, Petrography and Traceology." Praehistorische Zeitschrift 96, no. 2 (October 5, 2021): 609–49. http://dx.doi.org/10.1515/pz-2021-2041.
Повний текст джерелаАнотація:
Abstract A fragmentarily preserved Byzantine icon made of steatite was discovered in 2015 during regular excavations in Chełm, eastern Poland. Identified as the left wing of a diptych illustrating the Twelve Great Feasts and created at the close of the 12th century, the find is one of the most important and beautiful Byzantine artefacts to have been found in Poland. The icon was uncovered within the confines of the palace complex which was created by Daniel (Danylo) Romanovych († 1264) in Chełm in the second quarter of 13th century. The icon, even though it was found within the borders of what is now Poland, is material evidence of contact between Byzantium and the social elite of the Galicia-Volhynia lands, rather than with the Polish Piasts. In this paper we concentrated on the presentation of the archaeological context of the find, which made it possible to establish that the icon arrived Chełm before the middle of the 13th century (terminus ante quem 1253), and especially on petrographic and traceological analyses of the icon. Assuming that greenish plaques were indeed the most characteristic steatite icon type, a decision was made to examine, apart from the Chełm artefact made from white rock, a greenish icon from the National Museum in Krakow as well. Petrographic analyses were based on optical microscopy, scanning electron microscopy with energy dispersive spectrometry (SEM-EDS) and X-ray powder diffraction (XRPD). Both icons were carved in steatite i. e. talc rich rock but their chemical compositions indicate the presence of other components. Artifact from Chełm is white. Porous, enriched in potassium (K) and locally blistering outer rim of the icon from Chełm was formed probably during the fire event. Presence of forsterite and subordinate amount of leucite also indicate high temperature influence. Local enrichment in calcium (Ca) is related to exchange reactions with ground compounds. Accumulation of different components on the surface of the icon’s surface was noted. The icon from the National Museum in Krakow is greenish probably because of the presence of chlorite. The results of the traceological analysis (icon from National Museum in Krakow was not analysed) indicate that the icon found in Chełm was created most likely by a skilled and experienced carver with access to the high-quality magnifying glass and specialist tools required for rendering minuscule objects and their details. The production of the icon also involved the use of a “mechanical” tool, probably a kind of a miller with a rotating polishing head, which also seems to point to a specialist workshop. The use-wear traces observed on artefact are limited to polish resulting from prolonged contact with human hands or storing the icon in a leather case. Most of the extant Byzantine icons are unprovenanced objects held in museum collections or church treasuries. Therefore, as the icon presented in this paper was discovered during archaeological excavations, it ranks among the few Byzantine artefacts to have been found outside of this realm. The petrographic and traceological analyses conducted are the first published natural science contributions to the study of Byzantine steatite icons and we hope they will provide the impetus for undertaking such research on other Byzantine finds, helping to develop Byzantine archaeology further.
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Buko, Andrzej, Tomasz Dzieńkowski, Stanisław Gołub, Mirosław P. Kruk, Marek Michalik, Aleksandr Musin, Grzegorz Osipowicz, Alicja Rafalska-Łasocha, and Marcin Wołoszyn. "Beyond Beauty. Byzantine steatite icon from Chełm. Archaeology, Petrography and Traceology." Praehistorische Zeitschrift 96, no. 2 (October 5, 2021): 609–49. http://dx.doi.org/10.1515/pz-2021-2041.
Повний текст джерелаАнотація:
Abstract A fragmentarily preserved Byzantine icon made of steatite was discovered in 2015 during regular excavations in Chełm, eastern Poland. Identified as the left wing of a diptych illustrating the Twelve Great Feasts and created at the close of the 12th century, the find is one of the most important and beautiful Byzantine artefacts to have been found in Poland. The icon was uncovered within the confines of the palace complex which was created by Daniel (Danylo) Romanovych († 1264) in Chełm in the second quarter of 13th century. The icon, even though it was found within the borders of what is now Poland, is material evidence of contact between Byzantium and the social elite of the Galicia-Volhynia lands, rather than with the Polish Piasts. In this paper we concentrated on the presentation of the archaeological context of the find, which made it possible to establish that the icon arrived Chełm before the middle of the 13th century (terminus ante quem 1253), and especially on petrographic and traceological analyses of the icon. Assuming that greenish plaques were indeed the most characteristic steatite icon type, a decision was made to examine, apart from the Chełm artefact made from white rock, a greenish icon from the National Museum in Krakow as well. Petrographic analyses were based on optical microscopy, scanning electron microscopy with energy dispersive spectrometry (SEM-EDS) and X-ray powder diffraction (XRPD). Both icons were carved in steatite i. e. talc rich rock but their chemical compositions indicate the presence of other components. Artifact from Chełm is white. Porous, enriched in potassium (K) and locally blistering outer rim of the icon from Chełm was formed probably during the fire event. Presence of forsterite and subordinate amount of leucite also indicate high temperature influence. Local enrichment in calcium (Ca) is related to exchange reactions with ground compounds. Accumulation of different components on the surface of the icon’s surface was noted. The icon from the National Museum in Krakow is greenish probably because of the presence of chlorite. The results of the traceological analysis (icon from National Museum in Krakow was not analysed) indicate that the icon found in Chełm was created most likely by a skilled and experienced carver with access to the high-quality magnifying glass and specialist tools required for rendering minuscule objects and their details. The production of the icon also involved the use of a “mechanical” tool, probably a kind of a miller with a rotating polishing head, which also seems to point to a specialist workshop. The use-wear traces observed on artefact are limited to polish resulting from prolonged contact with human hands or storing the icon in a leather case. Most of the extant Byzantine icons are unprovenanced objects held in museum collections or church treasuries. Therefore, as the icon presented in this paper was discovered during archaeological excavations, it ranks among the few Byzantine artefacts to have been found outside of this realm. The petrographic and traceological analyses conducted are the first published natural science contributions to the study of Byzantine steatite icons and we hope they will provide the impetus for undertaking such research on other Byzantine finds, helping to develop Byzantine archaeology further.
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Pereira, Aline Fabiana Campos. "Deviant heroes: an analysis of strategies of social control towards defenders of people on the move in Hungary." REMHU: Revista Interdisciplinar da Mobilidade Humana 28, no. 58 (April 2020): 33–50. http://dx.doi.org/10.1590/1980-85852503880005803.
Повний текст джерелаАнотація:
Abstract Historically, icons of social movements were treated as outcasts by established structures of social control. When activists break unjust rules to promote human rights, their noble causes do not seem to fit the commonsensical frame of ‘the deviant’, which brings up some questions. When they infringe norms to promote rights, how are activists inserted in the crime framework? How do people perceive their actions and why? This article aims to address these questions, by using the case study of migrant human rights defenders in Hungary. It navigates phenomena such as stigmatisation and criminalisation, and presents positive deviance, supranormality and functional stigmatisation as alternatives to traditional perspectives.