Picture Frame Sign

2020 ◽  
pp. 126-126
Author(s):  
Michael E. Mulligan
Keyword(s):  
2020 ◽  
pp. 1-12
Author(s):  
Robert S. Allison ◽  
Yoshitaka Fujii ◽  
Laurie M. Wilcox

2019 ◽  
Vol 1 (1) ◽  
pp. 52-63
Author(s):  
I Putu Dudyk Arya Putra ◽  
Ramanda Dimas Surya Dinata ◽  
Agung Wijaya

Campaign in principle is a process of individual or group communication activities institutionalized and aims to create a certain impact. Political contestation at this time currently uses various media as mass communication. One of the most widely used media communications in political campaigns is portrait photos. In a portrait photo that is seen is the protrusion of a figure in a picture frame. Portrait photos are widely used in today's political campaign media and appear to be a mandatory element in campaign media. Its almost certain when there are political activities such as general elections, presidential elections and others, campaign media that display portraits of political figures can be found in strategic public places. Usually photos that are selected or set to be communicative and the appearance of the expressions from political figures sparks smiles and laughter to gain sympathy from their constituents. The form of portrait photos in campaign media appears in various mediums such as banners, billboards, pins, stickers, posters, t-shirts, and others. The communication that is built in the portrait photo media is non verbal communication that requires viewers to see visuals or images. This become interesting to study because portrait photos are not enough to only be read as visual that display personal figures but can be seen from a social angle because their presence functions as signs and illustrative elements.


2006 ◽  
Vol 11 (5) ◽  
pp. 403-408 ◽  
Author(s):  
Kasper Garnæs ◽  
Olga Grünberger ◽  
Jesper Kjeldskov ◽  
Mikael B. Skov
Keyword(s):  

Author(s):  
Gundula Kreuzer

Gundula Kreuzer challenges common assumptions about the ‘screenification’ of contemporary opera productions by reconsidering historical screening techniques within staged opera. Beginning with the Baroque picture-frame stage, she highlights how a desire for visual illusion on stage came into conflict with the increasingly complicated array of equipment, scenery, and props required to produce such elaborate scenes. Retracing strategies tested out at Wagner’s Festspielhaus at Bayreuth, she argues that the theatre’s curtain line came to imply an invisible screen with the capacity to organize the various media on the deep stage into a unified whole, a perception fostered by the visual and acoustic environment of the auditorium. Rather than a part of the telos of modernist painting, she highlights this flattened planar format as the outcome of technical and aesthetic conflict, whose legacy proves highly relevant to contemporary experiments with operatic staging.


1993 ◽  
Vol 1 (2) ◽  
pp. 8-8
Author(s):  
Ross Murosako

The primary function of an SEM specimen stage is to optimize the orientation of the specimen to the signal detectors. The ease and precision with which the stage executes this function determine its utility to the microscopist. While the majority of scanning electron microscopes are equipped with general purpose five-axis specimen stages, a six-axis stage can significantly enhance specimen orientation. Specimen manipulation can be further simplified by incorporation of a six-axis hand controller that enables the microscopist to move the specimen intuitively as if the specimen were held directly in the hand.SEM manufacturers typically install general purpose five-axis specimen stages in their scanning electron microscopes. In addition to translation along the X and Y axes, these stages are capable of tilt (T), elevation (Z motion), and rotation (R). Tilt directs the specimen surface toward the secondary electron detector to optimize signal collection. Elevation adjusts the working distance while rotation orients specific image features within the picture frame.


2020 ◽  
Vol 146 (2) ◽  
pp. 04019127 ◽  
Author(s):  
Caizheng Wang ◽  
Krishna Shankar ◽  
Evgeny Morozov ◽  
Karthik Ram Ramakrishnan ◽  
Alan Fien

1977 ◽  
Vol 6 ◽  
pp. 260-262 ◽  
Author(s):  
D. Siemers ◽  
E. Nembach ◽  
L. Koch

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