A Graph Retrieval Architecture and System for Online Sign Language Dictionary- with an application to Taiwanese Sign Language

Emerging applications for an online sign language dictionary require that retrieval systems retrieve a target vocabulary through visual symbols. However, when people encounter an unknown vocabulary in sign language during communication, they require the online dictionary to retrieve the vocabulary with higher recall-rate and smaller-sized graph through a mobile device. Still, three situations show that the current online dictionary needs an extension. First, previous works lack of retrieving the target graph of a vocabulary through its complete visual symbol-portfolio. Secondly, they often respond a large number of possible images; however, their precisions and recall rates remain very low. Thirdly, previous works of sign language gloves can convert the visual symbols into the graphic features, but only part of the symbols, ignoring the symbols of expression and relative direction. Therefore, the aim of this study is, based on Taiwanese Sign Language, to design a new graph retrieval architecture for sign-language (GRAS), and to implement a new graph retrieval system for sign-language (GRSS) based on this architecture. Finally, we invite users to evaluate GRSS. The experimental results show that GRSS gets convincing performance. And, GRSS adopting RDF technology can improve the performance of GRSS without adopting RDF technology.

Emergence of Third-Order Conditional Discriminations from Learning Discriminations with Unrelated Stimuli

This study explored learning and generalization of a third-order conditional discrimination. Two 8-year-old children learned two auditory–visual conditional discriminations in which they selected visual Japanese syllabic symbols in response to syllables spoken by the experimenter. Then, they learned a third-order conditional discrimination in which they selected between two visual symbols after being exposed to two spoken syllables and one visual symbol. Thereafter, we probed generalization with novel symbols and names by teaching two additional conditional discriminations with Nahuatl symbols and spoken words and probing without reinforcement a new third-order conditional discrimination in which they had to select between two visual Nahuatl symbols after being exposed to two spoken Nahuatl words and one visual Nahuatl symbol. The two children responded in a predicted way to the novel third-order conditional discrimination. The emergent performance was possible because the set of relations established among the stimuli of the third-order conditional discrimination with Japanese syllables was analogous to the set of relations established among the stimuli of the third-order conditional discriminations with Nahuatl words. These results demonstrated a novel type of emergent responding in third-order conditional discrimination with arbitrary relations.

The staff of madness: The visualization of insanity and the othering of the insane

In this article I trace a history of the most ubiquitous visual symbol of madness: the staff. First, I argue that the staff, in its variants (such as the pinwheel) and with its attachments (such as an inflated bladder), represents madness as air. It thus represents madness as an invisible entity that must be made visible. Secondly, I claim that the staff – being iconic of other ‘unwanted’ categories such as vagabonds – represents the insane as outsiders. Also in this case, the staff serves the purpose of making madness visible. Through this interpretation I show that the urge to make madness visible outlives icons of insanity such as the staff, making it a constant presence in popular culture and medical practice.

The bed in images of the Annunciation of the 14th and 15th centuries: a dogmatic symbol according to Greek-Eastern Patrology

ABSTRACT: The purpose of this article is to interpret the deep doctrinal meanings underlying the bed that appear in the symbolic depiction of some images of the Annunciation of the 14th and 15th centuries. To do so, I adopt two complementary methodological strategies, based on comparative analysis. In essence, from the outset I analyze an abundant corpus of explanatory texts by Fathers of the Greek-Eastern Church when they interpret some quotations from the Old Testament that include metaphorical terms such as thalamus, Sponsus, and Sponsa; second, I analyze twelve images from the Annunciation of the period that include a bed. Based on the fact that these Greek-Eastern Fathers unanimously consider that these metaphorical expressions signify the dogmas of the human incarnation of God the Son in the womb of the Virgin, and, as a consequence, also the divine virginal motherhood of Mary, I conclude that the bed included in these Annunciations is an eloquent visual symbol or metaphor for both dogmas. KEYWORDS: Christian Iconography, Medieval Art, Annunciation, Christ’s Incarnation, Virginal Divine Motherhood. RESUMEN: Este artículo tiene el propósito de interpretar los profundos significados doctrinales subyacentes en el lecho que aparece en la escenografía de algunas imágenes de la Anunciación de los siglos XIV y XV. Para ello adoptamos dos estrategias metodológicas complementarias, basadas en análisis comparativos: de entrada analizamos un abundante corpus de textos exegéticos de Padres de la Iglesia Greco-oriental cuando interpretan algunos textos del Antiguo Testamento que incluyen términos metafóricos tales como thalamus, Sponsus y Sponsa; en segundo lugar, analizamos doce imágenes de la Anunciación del período que incluyen un lecho. Basándonos en el hecho de que dichos Padres greco-orientales consideran unánimemente que esas expresiones metafóricas significan los dogmas de la encarnación humana de Dios Hijo en el vientre de la Virgen, y, como consecuencia, también la virginal maternidad divina de María, concluimos que el lecho incluido en esas Anunciaciones es un elocuente símbolo o metáfora visual de ambos dogmas. PALABRAS CLAVES: Iconografía cristiana – arte medieval – Anunciación – encarnación de Cristo, virginal maternidad divina.

BIRTH AS A SOURCE OF IDEAS FOR THE CREATION OF TEXTILE ARTWORK

The design is intended to create new work that focus on textile artwork to convey messages related to birth by exploring visual, symbol, and processing colors and techniques. The purpose of this artwork is to convey messages related to anti-drug awareness through textile artwork for an aesthetic element of the interior. The method used in this creation is the Gustami approach. This method goes through 6 stages, namely finding references in order to explore themes and topics, searching for theoretical foundations to determine techniques, materials, problems in creation, sketching, sketch completion, embodiment, and evaluation. The results of this design showed that (1) exploration in creating interior aesthetic artwork with the source of the idea of "birth" can be done by searching for layered data which is then outlined in a sketch taking into account colors and symbols, and (2) the work is realized with embroidery can be used to convey messages to raise anti-drug awareness in young generations.

The Discourse of Propaganda in Traveloka’s YouTube Advertising Videos

This present study was conducted to analyze the propaganda techniques used by Traveloka in their YouTube social media advertising strategy. The material of analysis were videos taken from 2015 to 2019. Anaylsis of propaganda techniques proposed by Filene in 1937 and followed by Abd. Kadir, Hasan & Sauffiyan, 2014 were used to identify how Traveloka persuade its customers. Finding shows that Traveloka used six techniques of propaganda in its advertising videos to; glittering generality, plain folks, card staking, visual symbol of power, music of propaganda and arousal of emotion to promote its products. The use of propaganda technique is very likely becoming one of the main reasons behind their customers and target audiences use of their services.

Pirot kilim as a visual symbol in the modern fashion design

The work was created with the aim to research the value and presence of Pirot kilim, more precisely its patterns as fundamental visual presenters of this product traditionally originating from Pirot in the field of contemporary fashion design. As a brand which with its quality crossed the local borders, potentials of Pirot kilim seem to be limitless but also not sufficiently used in the modern fashion design. In this context, the research of this resource was emphasized first on the local level especially in the field of applied art and more precisely in fashion as one of the most productive industries. The study analyses the work of designers who originate from Pirot and therfore are true connoiseurs of local tradition and culture. In some segments, the notion of traditional went beyond that framework and the designers breathed a new modern form into it which is adequate to the modern lifestyle. Apart from the use of Pirot motif pattern, the designers Ana Grgurović and Silvana Tošić have the cooperation with the local industry in common, the management of which recognised the value of its old products which in their redesigned form reach the catwalks and thus gain a new, so far unknown market.

Material Cultures of Scent

If tobacco was, normatively speaking, the preserve of masculinity then the smelling bottle was the visual symbol of olfactory femininity. Around 1700 the smelling bottle replaced an earlier object, the pomander, as the most popular form of material culture associated with smell. This shift illustrates several wider changes. The shift from the pomander to smelling bottle was a physiological shift from womb to nose; an embodied shift from leaky to stoppered-up visions of corporeality; and a practical shift from creating atmosphere to mitigating against atmospheres created by others. The design, use, and cultural representation of the smelling bottle all testified to these important shifts.