A Museum and an Art History for the Thai Nation

Author(s):  
Maurizio Peleggi
Keyword(s):  

Chapter 5 carries on from the previous chapter by detailing the assemblage of the Bangkok National Museum’s collection along with the formulation in the 1920s of a stylistic classification of antiquities that has since become canonical. The chapter examines the underlying assumptions of the art historical classification elaborated by Prince Damrong Rachanubhap (“the father of Thai history”) and the French scholar George Coedes, fouding director of the Siamese Archaeological Service.

Author(s):  
John H. Doveton

Many years ago, the classification of sedimentary rocks was largely descriptive and relied primarily on petrographic methods for composition and granulometry for particle size. The compositional aspect broadly matches the goals of the previous chapter in estimating mineral content from petrophysical logs. With the development of sedimentology, sedimentary rocks were now considered in terms of the depositional environment in which they originated. Uniformitarianism, the doctrine that the present is the key to the past, linked the formation of sediments in the modern day to their ancient lithified equivalents. Classification was now structured in terms of genesis and formalized in the concept of “facies.” A widely quoted definition of facies was given by Reading (1978) who stated, “A facies should ideally be a distinctive rock that forms under certain conditions of sedimentation reflecting a particular process or environment.” This concept identifies facies as process products which, when lithified in the subsurface, form genetic units that can be correlated with well control to establish the geological architecture of a field. The matching of facies with modern depositional analogs means that dimensional measures, such as shape and lateral extent, can be used to condition reasonable geomodels, particularly when well control is sparse or nonuniform. Most wells are logged rather than cored, so that the identification of facies in cores usually provides only a modicum of information to characterize the architecture of an entire field. Consequently, many studies have been made to predict lithofacies from log measurements in order to augment core observations in the development of a satisfactory geomodel that describes the structure of genetic layers across a field. The term “electrofacies” was introduced by Serra and Abbott (1980) as a way to characterize collective associations of log responses that are linked with geological attributes. They defined electrofacies to be “the set of log responses which characterizes a bed and permits it to be distinguished from the others.” Electrofacies are clearly determined by geology, because physical properties of rocks. The intent of electrofacies identification is generally to match them with lithofacies identified in the core or an outcrop.


2021 ◽  
pp. 29-40
Author(s):  
T. I. Lagaeva ◽  
A. I. Simak

The purpose of this investigation is the search and development of the methodological tools for the use of the Theory of Inventive Problem Solving (TRIZ/TIPS) for a deep and conscious perception of the modern visual arts by future artists and by professional painters in general. Methodology. The theoretical fundamentals of the research became the works of the researchers in the field of social-humanitarian sciences: culturology, art history, philosophy, semiotics. One can refer to the methodological basics the use of systemic, structural-semiotic and post-structural approaches. Results. In the process of the research, the differentiation, systematization and classification of methods of shaping in visual arts by adapting TRIZ methods was realized. The visual information for every TRIZ method was collected. As an example, we suggested a research abstract for the «Mediator» method, including a selection and the interpretation of the images, the analysis of method’s functions and their peculiarities, their specifics and resource possibilities. Scientific novelty. The scientific novelty consists in the fact that the authors have investigated the artistic works on the basis of adapted TRIZ methods, identified the variants of use of these methods and their functional meaning. Practical significance. The practical significance of the research consists in a deep analysis of semantic and esthetic components of the works of art, which can promote the enhancement of the artistic communication effectiveness and higher realization of the artists.


Author(s):  
Ulrich Bindseil ◽  
Alessio Fotia

AbstractThis chapter introduces the reader to unconventional monetary policy, i.e. monetary policy using instruments going beyond the steering of short-term interest rates as described in the previous chapter. We start by providing the rationale of unconventional monetary policy, i.e. essentially pursuing an effective monetary policy when conventional policies are not able to provide the necessary monetary accommodation because of the zero lower bound. We then discuss negative interest rate policies, and explain why rates slightly below zero have proven to be feasible despite the existence of banknotes. We also discuss possible unintended side-effects of negative interest rates. We continue with a discussion of non-conventional credit operations: lengthening of their duration, the use of fixed-rate full allotment, the widening of the access of counterparties to the central bank’s credit operation, targeted operations, credit in foreign currency, and widening the collateral set. Finally, we turn to the purposes and effects of securities purchase programmes. We end the chapter by revisiting the classification of central bank instruments in three categories: conventional, unconventional, and lender of last resort.


In the previous chapter, the first stage for detecting the ECG noise removal was investigated. In this chapter, the second and the third stages are explained. The Second stage is to extract the effective features of the ECG signals. The final stage is to use MLP and PSO algorithms for classification of ECG signals to detect the 4 common heart disorders including the normal signals. Common disorders are Normal, Supraventricular, Brunch bundle block, Anterior myocardial infarction (Anterior MI), and Interior myocardial infarction (Interior MI).


1987 ◽  
Vol 12 (1) ◽  
pp. 8-11
Author(s):  
Ineke van Hamersveld

In addition to Dutch academic and museum libraries, a number of art libraries and relevant document and information centres are attached to government and other institutions. These include the Netherlands Institute for Art History at The Hague (the parent institution of DIAL, an iconographical classification of Dutch art); the Stichting MARDOC at Rotterdam, which is evolving thesauri to facilitate automated access to museum collections; and the Netherlands Office for Fine Art, responsible for coordinating and promoting Dutch art collections. Other institutions are concerned with contemporary Dutch art, photography, architecture, the role of art in society, art education, and museology. Some of these, with some other institutions, are linked by the network Culturele Pool (CUPO) which coordinates and indexes current literature on the art in the broadest sense.


2013 ◽  
Vol 47 (5) ◽  
pp. 1520-1548 ◽  
Author(s):  
MAURIZIO PELEGGI

AbstractIn the mid 1920s Prince Damrong Rajanubhab and George Coedès jointly formulated the stylistic classification of Thailand's antiquities that was employed to reorganize the collection of the Bangkok Museum and has since acquired canonical status. The reorganization of the Bangkok Museum as a ‘national’ institution in the final years of royal absolutism responded to increasing international interest in the history and ancient art of Southeast Asia, but represented also the culmination of several decades of local antiquarian pursuits. This paper traces the origins of the art history of Thailand to the intellectual and ideological context of the turn of the twentieth century and examines its parallelism to colonial projects of knowledge that postulated a close linkage between race, ancestral territory and nationhood.


2021 ◽  
Vol 13 (2) ◽  
pp. 180-192
Author(s):  
Irina A. Sazykina ◽  
Irina L. Sirotina

Introduction. In modern design, there is a relevant topic of creating original stage costumes using ancient sacred Finno-Ugric symbols. Materials and Methods. The choice of goals and objectives, which is based on the principle of consistency, determined the methodology of the work that is based on the synthesis of cultural and art history analysis. Results and Discussion. In line with the interdisciplinary research, the article considers the use of artistic techniques that allow us to preserve the code of recognition of the passing epochs in the current design: in the forms of symbols and signs of the Finno-Ugric peoples, color solutions, textures of fabrics and materials, decor, and the location of sacralization. It gives the author’s classification of modern collections of ethno-costume: conditionally authentic; folklore; pop; competitive. It considers the female complex of the northern Komi-Permians as a source for the creation of conditionally authentic costumes for the folk ensemble “Samorodky” (“Nuggets”). All theoretical findings are illustrated by their practical use in the creation of author’s collections. The main emphasis is made on the Udmurt costumes. Conclusion. The design of a modern Udmurt costume will be most effective and will reach a high-quality level. For this purpose, it is important to reveal sacred, semiotic and aesthetic content of the traditional costume and be scientifically understood and adequately adapted to today’s style and functional requirements both in design and in the semantic characteristics of decorative elements and accessories.


2020 ◽  
Vol 13 (2) ◽  
Author(s):  
Viviane Clay* ◽  
Johannes Schrumpf* ◽  
Yannick Tessenow* ◽  
Helmut Leder ◽  
Ulrich Ansorge ◽  
...  

Classifying artists and their work as distinct art styles has been an important task of scholars in the field of art history. Due to its subjectivity, scholars often contradict one another. Our project investigated differences in aesthetic qualities of seven art styles through quantitative means. This was achieved with state-of-the-art deep-learning paradigms to generate new images resembling the style of an artist or entire era. We conducted psychological experiments to measure the behavior of subjects when viewing these new art images. Two different experiments were used: In an eye-tracking study, subjects viewed art-style-specific generated images. Eye movements were recorded and then compared between art styles. In a visual singleton search study, subjects had to locate a style-outlier image among three images of an alternative style. Reaction time and accuracy were measured and analyzed. These experiments show that there are measurable differences in behavior when viewing images of varying art styles. From these differences, we constructed hierarchical clusterings relating art styles based on the different behaviors of subjects viewing the samples. Our study reveals a novel perspective on the classification of artworks into stylistic eras and motivates future research in the domain of empirical aesthetics through quantitative means.


Author(s):  
Tatiana E. Litvinenko

The article deals with the problem of structural organization of liberal arts fragments in the diachronic world view. It considers the application of a prototypical approach to the knowledge categorization about the types and directions of culture and to the differentiation of the tools of their verbal representation in the metalanguage. The classification of the concepts “Renaissance” and “Baroque” under the criteria of modern linguo-cognitive science is proposed. The article provides definitions of prototypical and peripheral units of the categories analyzed and substantiates the differences in their significates. Special attention is paid to non-central category members, as well as to parameters that confirm their categorical status and place them in the general subsystems’ hierarchy. The study substantiates the polysemy of the terms “Renaissance” and “Baroque”, which is caused by the heterogeneity of the classes they represent. Based on the material of specific category units, it demonstrates the possibility of changing their positions as class members and analyzes the causes and consequences of their re-categorization. The article considers the problem of variability and openness of the range of the categories under study, as well as the criteria of their autonomy and integrity. It is shown that the category stability depends on the prototype identification degree and its differences from the central units in other classes. The main conclusions were obtained by analyzing the meanings of the investigated terms and identifying patterns of their attribution to the texts of the corresponding cultural stages. The study novelty lies in the application of cognitive analysis methods to the concepts and term units of the Humanities metalanguage. The research relevance is accounted for by the need to further study the semantics and functioning of interdisciplinary special units in poetics, literary history, art history, cultural studies, and aesthetics. It helps to distinguish the meanings and contexts of using names that are synonymous and antonymous.


1966 ◽  
Vol 24 ◽  
pp. 21-23
Author(s):  
Y. Fujita

We have investigated the spectrograms (dispersion: 8Å/mm) in the photographic infrared region fromλ7500 toλ9000 of some carbon stars obtained by the coudé spectrograph of the 74-inch reflector attached to the Okayama Astrophysical Observatory. The names of the stars investigated are listed in Table 1.


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