scholarly journals The drawing in the design process: a study in the work of Andrea Palladio

2013 ◽  
Author(s):  
Monika Maria Stumpp ◽  
Claudio Calovi Pereira
Keyword(s):  
Design Process ◽  
Graphical Representation ◽  
Three Dimensional ◽  
Design Activity ◽  
Special Role ◽  
Andrea Palladio ◽  
Alternative Representation ◽  
History Of ◽  
The Aesthetic ◽  
The Individual

The development of design activity uses technical suports that allow the architect to record the evolution of your idea or communication with it. Historically, the support that has been used is the graphical representation, which, as a intelligence technology, joins with the creative and cognitive processes of the individual, allowing communication with their imagination and also to all individuals involved in projecting. The representations graphically materialized, calls drawing,  are important in the practice of architecture because they represent the evolution of the design process. The drawing means the way in which design is conducted, tested, controlled and ultimately appears performed. In this context the drawings of the Renaissance architect Andrea Palladio play a special role in the history of architecture, because it makes clear how he understood and thought the architecture. At that time, the graphical representation of the space acquired an importance that had not previously, incorporating a greater number of alternative representation, highlighting the aesthetic concerns and the current building techniques. A lot of drawings produced by Palladio, shows how he was deeply convinced of eloquence and priority of images to understand the architecture, more than any other form of discursive explanation. In this sense, this work investigates the drawings of Palladio as a tool at the process of design solutions translation. The reading of the project through the design has been used to study designs and architectural objects or certain styles or specific authorship of an architect. Here the method is used for reading the project of Villa Pisani in Bagnolo (1542). Using two and three dimensional drawings, represented by plan, section and volumetry, it is intended to make explicit certain aspects underlying the architectural work, as questions of proportion and symmetry. It is expected that, at the work of Palladio, this method allows to compare and understand drawings, in order to analyze mutations and replications and  search of new meanings, readings and interpretations.

An Assistant Interface to Design and Produce a Pop-Up Card

2010 ◽  
Vol 1 (2) ◽  
pp. 40-50
Author(s):  
Sosuke Okamura ◽  
Takeo Igarashi
Keyword(s):  
Real Time ◽  
Design Process ◽  
Collision Detection ◽  
User Study ◽  
Three Dimensional ◽  
Dimensional Structure ◽  
Design Activity ◽  
Three Dimensional Structure ◽  
Design And Production

This article describes an assistant interface to design and produce pop-up cards. A pop-up card is a piece of folded paper from which a three-dimensional structure pops up when opened. The authors propose an interface to assist the user in the design and production of a pop-up card. During the design process, the system examines whether the parts protrude from the card or whether the parts collide with one another when the card is closed. The user can concentrate on the design activity because the error occurrence and the error resolution are continuously fed to the user in real time. The authors demonstrate the features of their system by creating two pop-up card examples and perform an informal preliminary user study, showing that automatic protrusion and collision detection are effective in the design process.

An Assistant Interface to Design and Produce a Pop-Up Card

2012 ◽  
pp. 119-130
Author(s):  
Sosuke Okamura ◽  
Takeo Igarashi
Keyword(s):  
Real Time ◽  
Design Process ◽  
Collision Detection ◽  
User Study ◽  
Three Dimensional ◽  
Dimensional Structure ◽  
Design Activity ◽  
Three Dimensional Structure ◽  
Design And Production

This article describes an assistant interface to design and produce pop-up cards. A pop-up card is a piece of folded paper from which a three-dimensional structure pops up when opened. The authors propose an interface to assist the user in the design and production of a pop-up card. During the design process, the system examines whether the parts protrude from the card or whether the parts collide with one another when the card is closed. The user can concentrate on the design activity because the error occurrence and the error resolution are continuously fed to the user in real time. The authors demonstrate the features of their system by creating two pop-up card examples and perform an informal preliminary user study, showing that automatic protrusion and collision detection are effective in the design process.

Historical Poetics

2020 ◽  
Author(s):  
Sean Pryor
Keyword(s):  
Cultural History ◽  
Theoretical Frameworks ◽  
Historical Significance ◽  
Quantitative Studies ◽  
The Social ◽  
History Of ◽  
The Aesthetic ◽  
The Individual ◽  
Historical Moment ◽  
Social Uses

If poetics customarily deals with generalities, history seems to insist on particulars. In the 21st century, various literary critics have sought to manage these competing imperatives by developing an “historical poetics.” These critics pursue sometimes very different projects, working with diverse methodologies and theoretical frameworks, but they share a desire to think again about the relation between poetics and history. Some critics have pursued an historical poetics by conducting quantitative studies of changes in metrical form, while others have investigated the social uses to which poetry was put in the cultures of the past. Both approaches tend to reject received notions of the aesthetic or literary, with their emphasis on the individual poet and on the poem’s organic unity. Much work in historical poetics has focused instead on problems of genre and reception, seeking the historical significance of poetry in what is common and repeated. Sometimes this work has involved extensive archival research, examining memoirs, grammar books, philological tracts, and other materials in order to discover how poetry was conceived and interpreted at a particular time. These methods allow critics to tell histories of poetry and to reveal a history in poetry. The cultural history of poetic forms thus becomes a history of social thought and practice conducted through poetry. For other critics, however, the historical significance of a poem lies instead in the way it challenges the poetics of its time. This is to emphasize the singular over the common and repeated. In this mode, historical poetics aims both to restore poems to their proper historical moment and to show how poems work across history. The history to be valued in such cases is not a ground or world beyond the poem, but the event of the poem itself.

scholarly journals METAMORPHOSES OF THE CINEMA CLUB MOVEMENT

2021 ◽  
Vol 17 (2) ◽  
pp. 241-271
Author(s):  
KIRILL E. RAZLOGOV ◽  
◽  
EVGENIA V. PARKHOMENKO ◽  
Keyword(s):  
World War Ii ◽  
Western Europe ◽  
Mass Movement ◽  
Three Dimensional ◽  
Special Role ◽  
The People ◽  
Film Education ◽  
History Of ◽  
Russian Film ◽  
Russian Cinema

The article is based on the studies by the Department for the Development and Approbation of Film Education Methods (VGIK) in the field of amateur film associations and cinema clubs. The authors profile the history of the Russian film club movement and analyze the significance of such associations for cultural enlightenment and comprehensive education of a personality. Such a survey is included in the international process of the formation of a cinephile community, who in the USSR were called nothing short of “kinomany” (movie addicts). A hundred years of experience of Russian film education, in the forms of both spontaneous amateur one and complex state one, is considered as a source of methods and best practices to be implemented in modern media education. The article also explains the influence of film clubs and their repertoire on the distribution and popularization of cinema works, especially on the so-called festival and “shelved” films, limited in release then and now becoming a battleground between commercial and artistic priorities of the filming process. The text contains stories and descriptions of participants in the film club movement: the founders of associations, curators and critics. Their interviews make it possible to imagine a three-dimensional picture of the life of cinema lovers’ communities. The main milestones in the history of the film club movement in the USSR and in the world are traced: the formation in the 1910s–1920s, the decline in the 1930s–1940s, the revival of the international festival movement abroad after World War II, and in Russia—during the perestroika, the crisis of the 1980s–1990s, the creation of the Cinema Club Federation, attempts to revive the Friends of Soviet Cinema Society, and modern trends related to the film club work in the context of international cooperation, which was initiated by the VI World Festival of Youth and Students. The Soviet experience is studied in correlation not only with the strengthening in Western Europe of such phenomena as film clubs and film lovers’ associations, but also with the formation of specialized art cinemas and the experiment of the cinema club network, which is predicted to play a special role in the post-pandemic era. Among other things, the authors’ attention is focused on the delicate balance, that accompanied the entire history of the film club movement: the balance between initiative of the people, a spontaneous mass movement, and state efforts to organize and structure this process, between the desire for creative freedom and strict censorship of the elite. The authors consider the domestic and foreign cinema club experience as an opportunity to distribute works of the Russian cinema art among the most interested audience and to establish a system of limited cinema club distribution, which would bring originators and the public closer together.

scholarly journals Rapt/Wrapped Listening: The Aesthetics of “Surround Sound”

2021 ◽  
Vol 1 (2) ◽  
Author(s):  
James Wierzbicki
Keyword(s):  
Three Dimensional ◽  
Real Life ◽  
Physical Nature ◽  
Daily Basis ◽  
Turn Of The Century ◽  
Surround Sound ◽  
History Of ◽  
The Aesthetic

This essay is prompted by “surround sound,” the sonic results of which have been evident in cinemas since the late 1970s and the encoding for which, in the form of Dolby 5.1 on the soundtracks of DVDs, since the turn of the century has been fairly ubiquitous. By way of background, the essay deals in turn with the physical nature of three-dimensional listening and with the history of stereophonic sound as manifest both in the cinema and on LP recordings. More to the point, the essay deals with the aesthetic differences (not just perceptual but also affective) between listening to three-dimensional sounds in real life situations and listening to re-creations of those sounds, via a Dolby system or otherwise, in the privacy and comfort of one’s home. Playing on the homophonic adjectives in its title, the essay reflects on why sometimes we give more rapt attention to artificial versions of “surround sound” than to the genuine stereophonic sound in which we are literally wrapped almost on a daily basis.

scholarly journals The concept of “Christian empire” in the historiosophy of Fyodor Tyutchev

2020 ◽  
Vol 2 (4) ◽  
pp. 94-103
Author(s):  
Boris N. Tarasov
Keyword(s):  
State Building ◽  
Special Role ◽  
Individual State ◽  
Christian Church ◽  
History Of ◽  
Historical Basis ◽  
The Individual ◽  
The 19Th Century ◽  
Imperial State

The article is devoted to Fyodor Tyutchev’s understanding of the special role of Russia as a country that still retains true Christianity as its spiritual and historical basis. The mission of Russia, according to the poet, is to maintain order on earth and the execution of higher laws, to avoid the onset of the realm of lawlessness. The work shows the process of Fyodor Tyutchev’s comprehension of the inseparability of the destinies of the priesthood and the monarchy, the inseparability of ecclesiastic and imperial history of Russia. The poet believed that Orthodoxy gives meaning to the activities of the state — the denial of Christianity and the imperial-state building based on it legitimises the sinful state of human nature. Calling Russia the heiress of Byzantium, Fyodor Tyutchev comes to the conclusion that it has become the mouthpiece of the fate of one big tribe and of the best, intact and healthy half of the Christian Church. The poet and thinker noted that the fluctuations of the Christian foundations and the slipping from them of the individual, state, society, all mankind into pre-Christian paganism (characteristic for the time of Fyodor Tyutchev) can lead to dire consequences. The author of the article analyses Fyodor Tyutchev’s thoughts on the crisis of the 19th century civilisation, the spiritual essence of which lies in the rejection of the freedom represented by Christianity and in state of enslavement by the autonomous human self and by the undeified political power.

Semi-automated methods for 3-D reconstruction of macromolecular complexes

1995 ◽  
Vol 53 ◽  
pp. 42-43
Author(s):  
B. Carragher ◽  
M. Whittaker
Keyword(s):  
Three Dimensional ◽  
Time Saving ◽  
Macromolecular Complexes ◽  
Symmetry Properties ◽  
Dimensional Reconstruction ◽  
Experienced Operator ◽  
Projection Images ◽  
The Individual ◽  
Natural Symmetry

Techniques for three-dimensional reconstruction of macromolecular complexes from electron micrographs have been successfully used for many years. These include methods which take advantage of the natural symmetry properties of the structure (for example helical or icosahedral) as well as those that use single axis or other tilting geometries to reconstruct from a set of projection images. These techniques have traditionally relied on a very experienced operator to manually perform the often numerous and time consuming steps required to obtain the final reconstruction. While the guidance and oversight of an experienced and critical operator will always be an essential component of these techniques, recent advances in computer technology, microprocessor controlled microscopes and the availability of high quality CCD cameras have provided the means to automate many of the individual steps.During the acquisition of data automation provides benefits not only in terms of convenience and time saving but also in circumstances where manual procedures limit the quality of the final reconstruction.

Investigating the Relationship Between Self-Esteem and Stigma Among Young Adults With History of Suicide Attempts

Crisis ◽  
2016 ◽  
Vol 37 (4) ◽  
pp. 265-270 ◽  
Author(s):  
Meshan Lehmann ◽  
Matthew R. Hilimire ◽  
Lawrence H. Yang ◽  
Bruce G. Link ◽  
Jordan E. DeVylder
Keyword(s):  
Young Adults ◽  
Suicide Attempts ◽  
Self Esteem ◽  
High Risk Population ◽  
High Functioning ◽  
People With Mental Illness ◽  
History Of ◽  
The Individual ◽  
The Impact ◽  
The Relationship

Abstract. Background: Self-esteem is a major contributor to risk for repeated suicide attempts. Prior research has shown that awareness of stigma is associated with reduced self-esteem among people with mental illness. No prior studies have examined the association between self-esteem and stereotype awareness among individuals with past suicide attempts. Aims: To understand the relationship between stereotype awareness and self-esteem among young adults who have and have not attempted suicide. Method: Computerized surveys were administered to college students (N = 637). Linear regression analyses were used to test associations between self-esteem and stereotype awareness, attempt history, and their interaction. Results: There was a significant stereotype awareness by attempt interaction (β = –.74, p = .006) in the regression analysis. The interaction was explained by a stronger negative association between stereotype awareness and self-esteem among individuals with past suicide attempts (β = –.50, p = .013) compared with those without attempts (β = –.09, p = .037). Conclusion: Stigma is associated with lower self-esteem within this high-functioning sample of young adults with histories of suicide attempts. Alleviating the impact of stigma at the individual (clinical) or community (public health) levels may improve self-esteem among this high-risk population, which could potentially influence subsequent suicide risk.

Migration and Modernities

2019 ◽  
Keyword(s):  
Native Americans ◽  
Literary History ◽  
Historical Study ◽  
Racial Categories ◽  
Geographic Boundaries ◽  
The Us ◽  
Technological Developments ◽  
History Of ◽  
The Aesthetic ◽  
Eighteenth And Nineteenth Centuries

Migration and Modernities recovers a comparative literary history of migration by bringing together scholars from the US and Europe to explore the connections between migrant experiences and the uneven emergence of modernity. The collection initiates transnational, transcultural and interdisciplinary conversations about migration in the eighteenth and nineteenth centuries, demonstrating how mobility unsettles the geographic boundaries, temporal periodization, and racial categories we often use to organize literary and historical study. Migrants are by definition liminal, and many have existed historically in the spaces between nations, regions or ethnicities. In exploring these spaces, Migration and Modernities also investigates the origins of current debates about belonging, rights, and citizenship. Its chapters traverse the globe, revealing the experiences — real or imagined — of eighteenth- and nineteenth-century migrants, from dispossessed Native Americans to soldiers in South America, Turkish refugees to Scottish settlers. They explore the aesthetic and rhetorical frameworks used to represent migrant experiences during a time when imperial expansion and technological developments made the fortunes of some migrants and made exiles out of others. These frameworks continue to influence the narratives we tell ourselves about migration today and were crucial in producing a distinctively modern subjectivity in which mobility and rootlessness have become normative.

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

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