Frontline Drawings of Ukrainian Artists of the Second World War Period

Purpose of the article. During World War II, hundreds of Ukrainian artists were at the front. The drawings they created were a powerful source of propaganda for the Soviet regime. At the same time, in the general unity of the full-scale front-line drawing the individual features of artists of great artistic skill are clearly traced. The aim of the article is to determine the circle of leading Ukrainian artists who during the Second World War were in the troops of the Workers 'and Peasants' Red Army (RSCA) and worked in the field of drawing; to study the genre, artistic and stylistic structure, as well as materials and techniques of frontal drawings; identify the features of the reproduction of space-time in the front-line drawing of Ukrainian artists. Methodology. The study is based on the principle of historicism, a combination of historical and cultural, contextual methods, art history image and stylistic and system-comparative analysis. Scientific novelty. Peculiarities of human psychology of perception were clearly manifested in the drawing of frontline artists. The compression of the time field in the drawings of frontline artists is due not only to the doctrine of socialist realism, which was based on spatial three-dimensionality, but also to the peculiarities of human perception of time and space in stressful conditions. This also explains the difference of time display in the drawings created by the artists in the conditions of the front and evacuation. Artists, whose period of study coincided with the years of the avant-garde, the introduction of formal foundations of art in educational institutions, have achieved a much deeper and broader interpretation in the drawing of temporal and spatial categories. Conclusions. Frontline sketches were pictorial diaries: notes, sketches that were intended to be triggers for memories, for further writing of pictorial "memoirs" - paintings on the theme of war. This theme of Soviet propaganda will become a pass for future decades in all artistic spheres, both artistic and literary, musical, film and theater, etc., ensuring the favor of party leaders and the respect of the average Soviet man. Drawings of Serhiy Hryhoriev, Zinovy ​​Tolkachov, Vasyl Ovchynnikov, Anatol Petrytsky, Georgy Melikhov, Anton Komashko and other prominent Ukrainian artists are distinguished by the ability to give the passage of events the meaning of epic generalization, elevation above the simplified goal of capturing the moment. Keywords: drawing, Ukrainian drawing, frontline drawing, sketch, the Second World War, portrait, landscape.

Drawings or 3D models: Do illustration methods matter when assessing perceived body size and body dissatisfaction?

Research has reported that both men and women experience body dissatisfaction. Among other instruments, a widely used method to assess perceived body size and body dissatisfaction are figure rating scales. Although a variety of illustration methods (e.g., three-dimensional, or 3D, models and line-drawing models) have been used to create these figure rating scales, to date, they have not been directly compared to one another. Thus, in the first study, which includes 511 participants at a mean age of 46 years old (range: 20–70), the present research work aims to assess how the line-drawing and 3D model scales, representing different body illustration methods, relate to each other. Furthermore, the first study assesses the validity of the indication of body dissatisfaction measured using these figure rating scales by comparing them to body checking or scrutinizing behavior and body appreciation levels. The project’s second study examines the two figure rating scales using objectively measured anthropometric data. In total, 239 participants at a mean age of 54 years (range: 18–94) were included. The results show that figure rating scales can be considered tools that measure perceptual body image due to their positive correlations with body checking behavior (for women) and their negative correlations with body appreciation. The 3D model and line-drawing scales show good to excellent inter-scale reliability, and both scales agree equally well with body mass index (BMI) measurements. Thus, the 3D model and line-drawing scales both seem well suited for assessing perceived body size and perceptual body dissatisfaction, suggesting that neither illustration method is superior to the other.

The dynamic coastal evidence of Jakarta Bay during Late Pleistocene-Recent

Some significant indication identifying a coastal dynamic during Late Pleistocene to Recent is the evolution of isochrone patterns throughout glacial-interglacial stages. This study aims to identify the sediments stratification of Jakarta Bay during the Late Pleistocene – Recent in the framework of coastal dynamic triggered by the sea-level changes of last prominent climatic stages. The several high-resolution seismic records in Jakarta Bay lines were interpreted to illustrate the different sequences from the top down to the oldest by line-drawing the more robust seismic reflectors as a sequence limit surface. Furthermore, the isochrone map series of unit boundary (UB) were reconstructed to delineate isochrone contour patterns from the oldest until modern. The selected isochrones map of UB-3 and UB-5 with their unit facies are somehow favorable to be compared for observing the coastal dynamic of Jakarta Bay during the last climatic variability. Finally, the coastal dynamic of Jakarta Bay is discovered by the movement series of isochrones contour patterns that correspond to the sea-level changes during the last prominent glacial-interglacial stages.

Quasi-Empirical Fictionalism as an Approach to the Philosophy of Geometry

<p>The central claim of this thesis is that geometry is a quasi-empirical science based on the idealisation of the elementary physical operations that we actually perform with pen and paper. This conclusion is arrived at after searching for a theory of geometry that will not only explain the epistemology and ontology of mathematics, but will also fit with the best practices of working mathematicians and, more importantly, explain why geometry gives us knowledge that is relevant to physical reality. We will be considering all the major schools of thought in the philosophy of mathematics. Firstly, from the epistemological side, we will consider apriorism, empiricism and quasi-empiricism, finding a Kitcherian style of quasi-empiricism to be the most attractive. Then, from the ontological side, we will consider Platonism, formalism, Kitcherian ontology, and fictionalism. Our conclusion will be to take a Kitcherian epistemology and a fictionalist ontology. This will give us a kind of quasiempirical-fictionalist approach to mathematics. The key feature of Kitcher's thesis is that he placed importance on the operations rather than the entities of arithmetic. However, because he only dealt with arithmetic, we are left with the task of developing a theory of geometry along Kitcherian lines. I will present a theory of geometry that parallels Kitcher's theory of arithmetic using the drawing of straight lines as the most primitive operation. We will thereby develop a theory of geometry that is founded upon our operations of drawing lines. Because this theory is based on our line drawing operations carried out in physical reality, and is the idealisation of those activities, we will have a connection between mathematical geometry and physical reality that explains the predictive power of geometry in the real world. Where Kitcher uses the Peano postulates to develop his theory of arithmetic, I will use the postulates of projective geometry to form the foundations of operational geometry. The reason for choosing projective geometry is due to the fact that by taking it as the foundation, we may apply Klein's Erlanger programme and build a theory of geometry that encompasses Euclidean, hyperbolic and elliptic geometries. The final question we will consider is the problem of conventionalism. We will discover that investigations into conventionalism give us further reason to accept the Kitcherian quasi-empirical-fictionalist approach as the most appealing philosophy of geometry available.</p>

Quasi-Empirical Fictionalism as an Approach to the Philosophy of Geometry

<p>The central claim of this thesis is that geometry is a quasi-empirical science based on the idealisation of the elementary physical operations that we actually perform with pen and paper. This conclusion is arrived at after searching for a theory of geometry that will not only explain the epistemology and ontology of mathematics, but will also fit with the best practices of working mathematicians and, more importantly, explain why geometry gives us knowledge that is relevant to physical reality. We will be considering all the major schools of thought in the philosophy of mathematics. Firstly, from the epistemological side, we will consider apriorism, empiricism and quasi-empiricism, finding a Kitcherian style of quasi-empiricism to be the most attractive. Then, from the ontological side, we will consider Platonism, formalism, Kitcherian ontology, and fictionalism. Our conclusion will be to take a Kitcherian epistemology and a fictionalist ontology. This will give us a kind of quasiempirical-fictionalist approach to mathematics. The key feature of Kitcher's thesis is that he placed importance on the operations rather than the entities of arithmetic. However, because he only dealt with arithmetic, we are left with the task of developing a theory of geometry along Kitcherian lines. I will present a theory of geometry that parallels Kitcher's theory of arithmetic using the drawing of straight lines as the most primitive operation. We will thereby develop a theory of geometry that is founded upon our operations of drawing lines. Because this theory is based on our line drawing operations carried out in physical reality, and is the idealisation of those activities, we will have a connection between mathematical geometry and physical reality that explains the predictive power of geometry in the real world. Where Kitcher uses the Peano postulates to develop his theory of arithmetic, I will use the postulates of projective geometry to form the foundations of operational geometry. The reason for choosing projective geometry is due to the fact that by taking it as the foundation, we may apply Klein's Erlanger programme and build a theory of geometry that encompasses Euclidean, hyperbolic and elliptic geometries. The final question we will consider is the problem of conventionalism. We will discover that investigations into conventionalism give us further reason to accept the Kitcherian quasi-empirical-fictionalist approach as the most appealing philosophy of geometry available.</p>