scholarly journals How genetics human ART style is making dreams come true: the stairway to eugenics

2021 ◽  
Vol 38 (2) ◽  
pp. 261-263
Author(s):  
David F. Albertini
Keyword(s):  
Art Style

Iglo-Motto: „Yes, ve gan“

2021 ◽  
Vol 73 (3) ◽  
pp. 41-41
Keyword(s):  
Street Art ◽  
Art Style

Hamburg. Iglo initiiert im gesamten Jahr 2021 Aktionen für eine vegane Ernährung. Eine Plakatkampagne im Street Art-Style macht den Anfang.

Congenital Deformities and the Olmec Were-Jaguar Motif

1981 ◽  
Vol 46 (4) ◽  
pp. 861-871 ◽  
Author(s):  
Carson N. Murdy
Keyword(s):  
Neural Tube ◽  
Neural Tube Defects ◽  
Adult Male ◽  
Religious Beliefs ◽  
American Art ◽  
Sociopolitical Organization ◽  
Stylistic Variation ◽  
Widespread Distribution ◽  
Congenital Deformities ◽  
Art Style

Although previous studies of Olmec iconography have correctly recognized the importance of the jaguar element and its conceptual origins in the shaman-jaguar transformation complex of beliefs, they have not explained why the Olmec expression of feline features should be different from their expression in other prehistoric American art styles sharing origins in the same complex of beliefs, nor why the Olmec chose to express them in the form of an infant were-jaguar, often held in the arms of a seated adult male. It is here suggested that the majority of the attributes of the were-jaguar motif can best be explained by analogy with the congenital deformities manifested in and associated with multifactorial neural tube defects. The apparent fusion of the portrayal of these defects with the portrayal of feline elements suggests that the art style and religious beliefs were being manipulated for political reasons, which would be most likely in a chiefdom form of sociopolitical organization. Reasons for stylistic variation in the portrayal of the were-jaguar and its widespread distribution are discussed.

scholarly journals Preservation of Art Style in Interior and Architecture Cultural Heritage Buildings: A Case Study in Hotel Kartika Wijaya & Hotel Niagara Malang

Humaniora ◽  
2016 ◽  
Vol 7 (1) ◽  
pp. 87
Author(s):  
Sri Rachmayanti ◽  
Christianto R. ◽  
Anak Agung Ayu Wulandari
Keyword(s):  
Cultural Heritage ◽  
Interior Design ◽  
Historic Buildings ◽  
Historical Building ◽  
Art Deco ◽  
Heritage Buildings ◽  
Heritage Building ◽  
Art Style

Kartika Wijaya Hotel and Niagara Hotel-Malang are two heritage buildings, which are well managed to preserve their historical building that, has been established since 1891. We can find good harmony and variety in interior elements and design styles, such as Colonial style, Art Noveau and Art Deco style. The purpose of documentating this heritage building that has different design styles is for those who needed. The data will be classified according to the period of the development of the buildings and characteristics of existing styles. The research objective on Kartika Wijaya hotel building and art styles is to preserve historic buildings in Indonesia, through documentation of interior elements and architectures, and to conducted a study of the interior and architectures elements, interior design ornaments, that founded in historical Kartika Wijaya Hotel and Niagara Hotel in Malang, whose the existence needs to be preserved. 

From Ravensbrück to Berlin: Will Lammert’s Monument to the Deported Jews 1957/1985

Images ◽  
2016 ◽  
Vol 9 (1) ◽  
pp. 140-163
Author(s):  
Natasha Goldman
Keyword(s):  
East Germany ◽  
Socialist Realism ◽  
Concentration Camp ◽  
East Berlin ◽  
Western Art ◽  
The Holocaust ◽  
History Of ◽  
Deutsche Demokratische Republik ◽  
Changing Attitudes ◽  
Art Style

In 1985 one of the earliest memorials dedicated to the Jewish victims of the Holocaust was installed in East Berlin. The Monument to the Deported Jews was an arrangement of thirteen bronze figures in expressionist style. Will Lammert, the artist, originally designed the figures for the base of his monument for Ravensbrück in 1957. The artist died in 1957, however, before finalizing his design for the monument. Only two figures on a pylon were installed at the concentration camp in 1959. The figures meant for the base of the Ravensbrück memorial were unfinished, but were nonetheless cast in bronze by the artist’s family. Thirteen of those figures were installed on the Große Hamburger Straße in 1985 by the artist’s grandson, Mark Lammert. This essay analyzes the Große Hamburger Straße monument in three ways: first, it returns to the literature on the Ravensbrück memorial in order to better understand the role that the unfinished figures would have played, had they been installed. I argue that they originally were most likely meant to depict “Strafestehen”—or torture by standing—at Ravensbrück. Secondly, it aims to explain why and how Lammert’s seemingly expressionist memorial would have been acceptable to East Germany in 1959. While Western art historical attitudes toward East Germany up until the 1990s assumed that Soviet socialist realism was the de facto art style of the Deutsche Demokratische Republik (DDR), some elements of expressionism were being theorized in the late 1950s, at precisely the time when Lammert designed the Ravensbrück monument. Finally, I analyze the role that a monument for Ravensbrück plays in this particular neighborhood of Mitte, Berlin: standing silently, they are no longer legible as women being tortured by standing. Instead, the sculptures signify, at the same time, the deported Jews of Berlin and the harrowing aftermath of their deportations, the improbable return of the deported Jews, and the changing attitudes toward the history of the neighborhood in which the sculptural group is located.

scholarly journals Consistent Video Style Transfer via Compound Regularization

2020 ◽  
Vol 34 (07) ◽  
pp. 12233-12240
Author(s):  
Wenjing Wang ◽  
Jizheng Xu ◽  
Li Zhang ◽  
Yue Wang ◽  
Jiaying Liu
Keyword(s):  
State Of The Art ◽  
Video Data ◽  
Experimental Results ◽  
Temporal Consistency ◽  
Challenging Problem ◽  
Style Transfer ◽  
Single Frame ◽  
Optical Flows ◽  
Training Strategies ◽  
Art Style

Recently, neural style transfer has drawn many attentions and significant progresses have been made, especially for image style transfer. However, flexible and consistent style transfer for videos remains a challenging problem. Existing training strategies, either using a significant amount of video data with optical flows or introducing single-frame regularizers, have limited performance on real videos. In this paper, we propose a novel interpretation of temporal consistency, based on which we analyze the drawbacks of existing training strategies; and then derive a new compound regularization. Experimental results show that the proposed regularization can better balance the spatial and temporal performance, which supports our modeling. Combining with the new cost formula, we design a zero-shot video style transfer framework. Moreover, for better feature migration, we introduce a new module to dynamically adjust inter-channel distributions. Quantitative and qualitative results demonstrate the superiority of our method over other state-of-the-art style transfer methods. Our project is publicly available at: https://daooshee.github.io/CompoundVST/.

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