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This paper presents a generative approach to creating dynamic 3D cursive calligraphy by integrating motion and bio-data captured by EEG and EMG sensors with particle systems driven by vector fields. The artwork created through this method metaphorically and visually represents a calligrapher's energy, inspired by the traditional concept of qi. The authors use the term bio-ink to describe the visualization technique of this digital sculpture, which uses bio-data as parameters to control the flow and dynamism of the particles. Utilizing Unreal Engine 5, the authors create a dynamic 3D artwork that inspires further investigation into the therapeutic benefits of calligraphy highlights the potential use of biofeedback in skill development, and paves the way for combining traditional arts with artists' life-data. [ABSTRACT FROM AUTHOR]

This article examines the popular practice of water calligraphy (dishu) across Changsha, Guiyang and Chongqing to demonstrate its aesthetic potential. Specifically, it suggests that dishu can be interpreted as a new expression of calligraphy and an exemplary case of living aesthetics. To demonstrate this, this article discusses the author's on-site observations and conversations with water calligraphers alongside the longstanding aesthetic principles of traditional calligraphy and the experimental works by Wang Dongling (b. 1945) and Song Dong (b. 1966). Moreover, by adopting a socio-geographical and historical lens, it views water calligraphy as a living, familiar and slow practice against China's spectacular and fast urban rhythms. Overall, this article demonstrates that water calligraphy can contribute to the discourse of living aesthetics by favouring sensual encounters within the familiar, collective and slow-paced everyday. Last, this article can contribute to shaping a new aesthetic paradigm that favours the living in a non-western context. [ABSTRACT FROM AUTHOR]

This article offers an introduction to 'After Su Shi', a special issue of Journal of Visual Art Practice, which focuses on the art practice of China's revered poet, calligrapher and stateman, Su Shi (1037–1101). The article situates the work of Su Shi specifically within the context of Hainan, the southern island of China where Su Shi was exiled near the end of his life. Some of his most famous poetry was written during this period and subsequently his identification with Hainan has long endured. Key heritage sites are referenced in this article, and, combined with an overview of the collected papers of the special issue as well as Hainan's recent new status as free port, this introduction sets out both a historical and contemporary view of Su Shi. It elucidates his far-reaching influence but also contemporary 'currency', suggesting of what might come after Su Shi, both in this image, but also akin to his free-spirited belief in the arts. [ABSTRACT FROM AUTHOR]

A visual presentation of Zhang Qiang's experimental calligraphy is set alongside a reading of the notion of 'International Experimental Calligraphy'. This term serves a dual purpose. Historically, it provides a framework to understand and acknowledge calligraphy from ancient times and unconventional writing practices within the context of Chinese calligraphy. It also serves to validate Western abstract expressionism as an experience aligned with calligraphy, so enriching a genealogical account of 'visual history'. In doing so, the poet and calligrapher, Su Shi, is a representative figure. His early thinking offers an important reminder that for Chinese calligraphy to be recognized as modern and contemporary, it needs to move beyond the confines of merely an intangible cultural heritage, and rather be understood an integrated aspect of an international, genealogical visual history. [ABSTRACT FROM AUTHOR]

Objective: To compare painting related variables for carpal tunnel syndrome (CTS) and musculoskeletal wrist pain among students of calligraphy and figurative painting. Methodology: A comparative cross-sectional study was conducted on 212 participants from 21 January to 25 May 2023. The data was collected from the fine arts departments of public and private universities in Sialkot, Pakistan. Phalen’s clinical test was used to screen the CTS and Boston carpal tunnel questionnaire was used as an outcome measuring tool. SPSS version 22 was used to analyze the data. Mean, Standard deviation and Independent-t-test was used to compare the groups at significance level (p=0.05). Results: Out of 212, (N=148, 69.81%) were participants in figurative painting (group A) and (N=64, 30.18%) were in calligraphy (group B) with positive Phalen test. The total mean score of symptom severity scale for CTS was (26.49 ± 6.25) and functional status (21.26±7.58) which determines moderate difficulty with routine tasks. The symptom severity scale for CTS among groups A and B had mean scores (27.83 ± 6.20) and (23.40, ± 5.20) whereas the functional status scale among group A; had mean scores (23.20 ± 7.67) and B (16.79, ± 5.13) respectively. Factors that showed significant difference between painters and calligraphers BCTQ were working hours, medium of paints, size of paint brushes and types of paint brushes (p-value= 0.00). Conclusion: The results of this study showed an overall 'moderate' symptom severity and functional difficulty level among participants with CTS but figurative painters were more affected in some factors than calligraphers. Keywords: Painters, figurative, calligrapher, Carpal tunnel syndrome

Copyright of Dîvân: Journal of Interdisciplinary Studies / Disiplinlerarasi Calismalar Dergisi is the property of Bilim ve Sanat Vakfi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The study was concerned with the aesthetics achieved by aesthetic stylistic variety in the works of calligrapher Messad Khudair al-Bour Saidi (1), a contemporary calligrapher who showed an interesting visual thrill. The research consists of four chapters, the first of which is the systematic framework in which the problem of study was determined by the following question: What is the aesthetic stylistic variety in the achievements of calligrapher Messad Khudair Al-Bour Saidi, and the goal comes to answer the question by revealing and identifying the various aesthetic representations of his works. The second chapter has three investigations, the first of which is the head of the subject of style and style and variety, while the second topic dealt with the study of the aesthetic philosophy of the Arabic calligraphy, and the third topic came explaining the organizational foundations of the art of Arabic calligraphy linguistically along with the biography of the calligrapher Khudhair. The third chapter is the research procedures in which the researcher chose the methodology of analytical description as an appropriate methodology for analyzing sample models that were chosen intentionally from the original society of the study and according to appropriate research justifications and to complement the results of the study, the researcher reached a set of results directly related to the title of the study and its goal: the stylistic variety in the art of Arabic calligraphy achieves a different aesthetic product and visual excitement. Chapter four also included some recommendations as well as proposals that could be subsequent studies of other researchers, and then concluded the study with a list of sources and references that have been adopted. [ABSTRACT FROM AUTHOR]

Arabic calligraphy is considered one of the first means of progress and development, and one of the most important Arab and Islamic monuments and the honor of its position among all nations, especially that the Arabic language is the language of the Holy Qur’an. In the country of Andalusia, Andalusian calligraphers have received clear attention from the rulers, as their contributions had an important impact on the Arab-Islamic civilization, and their handwriting was distinguished by accuracy and beauty as well as its importance in transmitting the most important events through writing and recording. In the Islamic civilization. In addition to the tools used in calligraphy and the types of calligraphy that Andalusians excelled in, the research relied on a group of sources, including Subh Al-Asha Al-Qalqhandi (d.821 AH). Among the references is the book The Contribution of Muslim Scholars to Science in Andalusia, Suha Baiun, and I have committed myself to place a margin at the end of the research to clarify the important information in addition to the conclusion and the list of sources and references

This essay traces the ambivalent work of ghurba (estrangement, exile, alienation) across four ethnographic scenes: Orthodox Christian activists in austerity Beirut refuse to abandon the corrupted world; a Syrian Islamic scholar in Jordan insists on the patient work of rehabilitation; Orthodox ascetics in a monastic community outside Tripoli turn to the hidden alienation borne in the world; and a Muslim calligrapher in Canada relinquishes the guarantee of ethical relation. Taken together, these scenes form a tableau of estrangement in the shared vocabulary of Eastern Christianity and Islam. Drawing on Ibn Khaldun's Muqaddimah–in its articulations of soul, community, and world always already shadowed by their undoing–we then situate these four scenes along spatio-temporal axes of destruction and production, city and desert, paradise and hellfire: a purgatorial topology which modulates what Agamben calls the contemporary destruction of experience. [ABSTRACT FROM AUTHOR]

Today, western calligraphy is performed as an art form with new dimensions, creating a rich diversity in the contemporary mindset technically and conceptually. Understanding the current tendencies is involved in interpreting the traditional aspect and how it is projected through today’s practices. The aim of this study is examined through the work of Montreal-based urban calligrapher Garbage Beauty, who employs discarded objects on the streets as platforms for calligraphy practices by blending them with creative applications. The paper proposes to frame the contemporary mindset by examining Garbage Beauty's works, which are inspired by the tradition fused with today’s attitude, and gain insight into the contemporary intentions of western calligraphy. The literature was reviewed in the context of the traditional western calligraphy with collected data. The works of Garbage Beauty are selected to provide a variety that enables a technical and practical examination and discussion that provides the traces from the past and the present to be located. It can be claimed that western calligraphy is no longer utilized just as a functional entity but also performed as a way to experiment and express emotions. It is seen that there is an established and preserved link with the appreciated convention of tradition fused with the contemporary mindset, which is observed by considering the literal meaning of the word calligraphy and the contemporary perception of its attributed features. [ABSTRACT FROM AUTHOR]

Gelatian Gulan preserved in Kutaisi State Historical Museum, is copied in 1541. It is the first dated Gulan among this type of manuscripts. More than 150 Nuskhuri and Mkhedruli willinscriptions are confirmed in Gulan. Their study provides interesting material from both linguistic and historical-source study aspects. With the help of will-inscriptions, the information of various nature, content and destination has reached us. The inscriptions show the economic situation, daily worries and everyday problems of the society at that time. In addition, the inscriptions give us an idea of the people of that time - their thoughts and feelings. Gulan's will-inscriptions are rich in expressions expressing the psycho-emotional state of the copyists. The subject of our research is the discussion of expressions from a psycholinguistic aspect. How much the grammatical structure of the expressions changes with the change in the psycho-emotional mood of the copyist, i.e. what linguistic means are used for this in the will-inscriptions of the Gelatian Gulan. [ABSTRACT FROM AUTHOR]

The re-emergence of classical forms, motifs, and media in contemporary art is an exciting field of research. In this paper, through a series of case studies, I focus on carpets, calligraphy, and photography in the oeuvre of artists working in or originating from countries with a predominantly Muslim aesthetic heritage, to see how these novel pieces can contribute to our present understanding of aesthetics and thus a better understanding of our present. [ABSTRACT FROM AUTHOR]

This article presents a very rare manuscript of a Muntakhab al-Suwar (selection of Qur'anic chapters) calligraphed by Ibrāhīm Sulṭān b. Shāhrukh. This manuscript was transcribed in large format in Ramaḍān 830 AH/June 1427 AD and endowed to the holy shrine of Shāh-Chirāgh in Ramaḍān 834 AH/May‒June 1431 AD. Therefore, it is considered to be one of the last known works calligraphed by Ibrāhīm Sulṭān. It is kept in the Pars museum in Shiraz. In this article, the unique codicology and special characteristics of this masterpiece are studied, and the important historical aspects of Ibrāhīm Sulṭān and the art works attributed to him are elaborated. The style of his calligraphy will also be examined to find out the sources of inspiration for his distinct style. [ABSTRACT FROM AUTHOR]

This short paper contributes to a larger field of text and skill transmission, as exemplified by editorial traditions linked to the Shāhnāma circulation in the Early Modern Central Asia. The analysis of the callligraphic work of a Bukharan professional known as Ādina Kāteb Bokhāri (end 15th/early 16th century) shows that he clearly specialized in the production of good quality copies of Persian literary texts, and especially the Shāhnāma epics. It also gives some insight into the organisation and circumstances of book production linked to professional copy workshops. The study of manuscript volumes signed by Ādina also brings to light such issues as specialisation, collaborative scribal work, larger editorial projects, but also literary trends and readership of literary texts. [ABSTRACT FROM AUTHOR]

In 2016 the Folger Shakespeare Library in Washington, DC acquired a previously unidentified manuscript by Esther Inglis, the seventeenth-century Scottish calligrapher. Now Folger MS V.a.665, it dates from 1612, and was a second gift that year from Inglis to Prince Henry. The main text is a copy of the Psalms in French prose, preceded by a lengthy dedication to the Prince. While the text itself is not decorated, the manuscript includes a self-portrait of Inglis and an image of King David at prayer, and the whole is bound in an embroidered binding which may also be by Inglis. This is the fifth and last manuscript presented by Inglis to Prince Henry, not long before his death in November 1612. [ABSTRACT FROM AUTHOR]

The article offers work of author as an artist in Chinese Calligraphy and Painting, and as a scholar in the diverse fields, works as an associate professor at Jinan University. Topics discussed include he is a recipient of many major prizes in calligraphy, artistic design, and academic research, and a contributor to several art journals; theme of Chinese Calligraphy which is the quest for purification, the designs arranged according to an aesthetic of emptiness.

Chinese calligraphy is often used to perform the beauty of characters in Chinese culture and is quite suitable in the study of shape representation. The skeleton of a digital line pattern can be treated as the shape descriptor. However, the skeleton-biased and reconstruction-incomplete phenomena often exist in a skeletonization method, which results in the difficulty of using the skeleton to perform the beauty of Chinese calligraphy characters. To overcome this difficulty, skeletal line information derived from the skeletal points and indexed boundary points is defined, and its transformation is implemented by a procedure of two-phase skeletal line placement (SLP). Based on the SLP, an effective algorithm including the SLP-stroke for strokes, SLP-fork for forks, and SLP-end for the end parts of strokes is developed for constructing the skeletal line-based shape descriptor. Four indices of measurement of skeleton deviation, number of distorted forks, number of spurious strokes, and measurement of reconstructability are used to evaluate the performance of the proposed approach. Experimental results show that the skeleton-biased phenomenon can be greatly reduced and the pattern reconstructability close to 100% is achieved, thus confirming that the proposed skeletonization approach is suitable for the Chinese calligraphy character representation and reconstruction. [ABSTRACT FROM AUTHOR]

The article explores the aesthetic concept of yi in the Chinese calligraphic creative process. Topics discussed include the meaning of voluntative yi as intention in ancient Chinese philosophy, cognitive yi as an idea in the mind of the calligrapher, and the two aspects of the voluntative yi which are youyi and wuyi.

Men's references to women's writing in vernacular Korean script never term this practice “calligraphy,” and yet articles of women's intricate brushwork reveal that in late Chosŏn Korea (1392–1910) this was a highly aestheticized practice with recognized social importance and a meticulous training process. This article captures the moment when vernacular Korean scriptural practices ascended the elite canon, which resulted in the emergence of high vernacular culture. It historicizes the gendered logic of representation in a male-authored historical archive to uncover the contours of a women-centered vernacular aesthetic canon that assumed a status of prestige alongside male culture in literary Chinese. The article unravels the meaning of the term “calligraphy” when it is applied to women's vernacular handwriting and ponders the connection between women's bodily discipline, productive work, and exquisite vernacular brushwork. This opens an alternative perspective not only on the gender politics of the Chosŏn society but also on the culture of the time, which is hitherto seen as dominated by a male-centered literary Chinese canon. [ABSTRACT FROM PUBLISHER]

This article concentrates on a manuscript that the calligrapher Esther Inglis (1571-1624) dedicated to Maurice of Nassau (1567-1625) in 1599. She was of Huguenot descent and lived in Edinburgh. He was heavily involved in the Dutch Revolt. During her lifetime she produced a number of gift books, of which some 60 are still extant, usually religious in content, written in a variety of hands, carefully decorated and bound, their size sometimes not much larger than a matchbox. They were offered to high placed persons within the circle of the Scottish and English courts, in the hope of a reward. In 1599, however, she decided to present a booklet to Maurice. Why? This article traces Maurice’s role in the Protestant cause as the main reason for the manuscript’s production, shows the influence of Dutch propaganda prints in its decoration and looks at how it could have reached Maurice. [ABSTRACT FROM AUTHOR]

A Koran written by Mehmed Şevki is the subject of this comparative analysis. This manuscript displayed an extensive degree of deterioration in 28 of the folios, while the rest of the manuscript is in considerably better condition. The aforementioned deteriorated sections of the book proved to be brittle and much darker in colour compared to the rest of this manuscript. The possible cause for this condition was ascertained using complementary techniques including the utilisation of micro-chemical (spot) tests, SEM-EDS, FTIR and Raman spectroscopy. The Micro-chemical Herzberg test indicated rag fibres in the paper used for the Koran, while the Raspail test #1 revealed rosin only in the sizing material of the deteriorated folios. SEM-EDS identified the presence of iron in all layers of the deteriorated folios but not in the stable folios. These results led subsequently to the conclusion that the deterioration of the folios was in fact related to the acid-catalysed hydrolysis due mainly to the presence of rosin and oxidation processes promoted by iron ions. This finding was also supported by FTIR analysis. The analyses indicated that different sizing materials had been used in the papermaking process of the two types of folios. In addition, Raman, EDS and HPLC techniques were also applied for the characterization of the inks and dyes. The results showed that inks and dyes were consistent throughout the entire text, thus suggesting calligrapher Mehmed Şevki and illuminator Hüseyin processed the book continually. It is plausible that calligrapher Mehmed Şevki changed his paper supply during the writing process which is why today we see a variety of differences in the condition of the papers. [ABSTRACT FROM AUTHOR]

Peacock ink, known as Murakkabi ṭāvūsī, was created and used by Persian master calligraphers especially from the 14th century onwards. It is a sub-category of Persian ink which contains four main ingredients: lamp black, gum Arabic, green vitriol (ferrous sulphate) and gall nut extract (tannic acid). It is differentiated from other inks in that it contains many additional secondary ingredients which will be covered in this paper. Peacock ink derives its name from the range of different coloured materials added to the ink as well as the blue-green undertone this predominantly black ink is said to have. It is reputed to be a high-quality product, rumoured to stay on paper for centuries and is not affected by water, abrasion or other detrimental factors. It was the aim of this investigation to identify and describe in detail ingredients used to make this ink by finding and translating 17 recipes contained in 11 Persian treatises (15th-16th ce). Of the 31 ingredients found, 16 are plant based, 13 minerals, and 2 animal (protein) based, and in all cases water was used as the vehicle. [ABSTRACT FROM AUTHOR]

Much has been written on the issue of the late-arrival of the printing press to the Islamic World. A vast majority of these writings conclude that the major reasons for this late arrival were the ignorance of the Ottoman Turks to this kind of technological developments (the so-called "Eastern/Islamic ignorance") and the selfishness of the Ottoman learned class, the ulema. However, in this study, although the role of the hubris of the Ottoman cultural elite cannot be completely denied, it is emphasized that this discourse is mostly fueled by Orientalist undertones. Therefore we argue that the printing press was resisted by the Ottoman cultural elite not because they were ignorant, but because they were too sophisticated and elegant to accept to put this machine to use. To be able to understand this argument, one must first understand why and how significant the act of writing was in the Islamic tradition, the education of a calligrapher and the role of these calligraphers in the society. Therefore, we first summarize the emergence of calligraphy in the Islamic tradition, its theological background and significance, then look at the calligrapher and the society, and finally focus on the confrontation with the printing press. Without understanding the true nature and meaning of Islamic calligraphy, we believe, it is a futile task to persuade the reader why the Muslim cultural elite might have reacted reluctantly to the machine. We conclude this paper with a look at the future, by drawing attention to how computers complicates this process even further. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Histórica: Historia Moderna is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Persian Nastaliq calligraphy is one of the most famous oriental arts. This study proposes for the first time an intelligent tutor system for automation of the Persian calligraphy learning process. The system incorporates image processing and machine learning technologies. Digitization, filtering, segmentation and feature extraction are image-processing techniques that prepare the appropriate input for the training phase of the SVM machine learning phase. Displaying suitable feedback on screen for learners is another aim of the study. In this regard, the system provides facilities for Persian Nastaliq calligraphy learners to reduce errors that are inherent in traditional education methods, makes the process more efficient and allows people to take advantage of learning possibilities whenever and wherever they choose. [ABSTRACT FROM AUTHOR]

Although the name of the seventeenth-century Dutch writing-master Johannes Heuvelman still invoked a high standard of calligraphy fifty years after his death, little is known about this Haarlemmer master today. This article discusses the printed catalogue and collection of calligraphy of Heuvelman's library, sold after his death, with which he situated himself in a rich network of writing-masters. These include important calligraphers of the immediate past in the Dutch Republic, contemporaneous French writingmasters - suggesting a hitherto unknown influence on Dutch calligraphy - and many calligraphy professionals and enthusiasts of Haarlem. [ABSTRACT FROM AUTHOR]

In this paper, the author examines the script forms and ornaments of five works by the Hungarian calligrapher, George Bocskay (?1575), which have so far eluded researchers' attention. All are manuscript charters on parchment, issued in Vienna in the second half of the sixteenth century by Habsburg rulers (some in their capacity as kings of Hungary), and all are of extremely high quality, decorated with elaborate calligraphy. Justification for presenting them together derives from their similar format: they are not conventional, single folio charters, but were all produced in booklet form. Since these manuscripts were closely connected with George Bocskay's time as an official at the Viennese Court, the paper provides an overview of the different stages of his career there, based primarily on recently unearthed archive sources. For thirty years Bocskay worked at - and was promoted through the ranks of - the Hungarian Court Chancellery, which was the official government body within the composite state of the Habsburg Monarchy with responsibility for issuing charters pertaining to the Kingdom of Hungary. Among the official documents issued here by the Habsburg rulers, in their capacity as kings of Hungary, the most important from an art historical aspect are the letters patent issued to members of the Hungarian nobility, which featured a miniature of the granted coat of arms and usually also calligraphic decoration. Based on the author's latest research, several examples of such decoration can now be attributed to the calligrapher, whose activity even led to the creation of a calligraphic school within the Chancellery. This paper presents three previously unknown manuscripts, namely the letters patent issued to Márk Horváth-Stanchich (1558), János Pethő de Gerse (III) (1572), and János Liszthy (1573); the identity of the master who made the miniatures on the two latter documents is also suggested (Donat Hübschmann). Furthermore, the paper provides clarification of the reading of a Bocskay signature found on a letters patent (grant of barony) issued to Miklós Oláh (1558-60), already described in the literature as a work by the calligrapher. Also on the basis of relevant archive sources, the author goes on to opine that, in addition to his official positions at the Chancellery, Bocskay also served in another role within the Viennese Court, which can best be defined as "calligrapher to the ruler." It was for such services that Ferdinand I of Habsburg, in his capacity as Hungarian king, also bestowed upon him the nominal title of royal courtier (in Latin: aulae regiae familiaris / aulicus). In the author's opinion, the artist, as "calligrapher to the ruler," was also given the commission to decorate two further important charters, also discussed in this paper, both ratifying royal marriages between Habsburg archduchesses and Italian noble houses. Issued in Vienna in 1565 by Emperor Maximilian II of Habsburg and Archdukes Ferdinand and Charles, one charter ratified the marriage between Archduchess Barbara and Alfonso II d'Este, while the other ratified the marriage between Archduchess Joanna and Francesco Medici. [ABSTRACT FROM AUTHOR]

Chinese calligraphy is a unique visual art, and is still emitting fascinating artistic brilliance and charm. The artistic beauty of Chinese calligraphy is constituted by two elements, i.e., form and spirit, which attract continual attentions by calligraphy artists. In this paper, we present Shear-Guided filter to extract the artistic information. Shear-Guided filter is designed by combining the shear transformation and the guided filter. It has both the edge-preserving smoothing property from the guided filter and the linear multidirectional property from the shear transformation. Shear-Guided filter can extract more spirit information from the calligraphy images, especially in the half-dry strokes. Furthermore, the previous evaluation parameters consider all pixels equally, which is against the truth. Here we put forward three new parameters to solve this issue. Finally, experiments show that Shear-Guided filter can extract the information of form and spirit more accurately, and the new evaluation parameters have better performances in evaluation. [ABSTRACT FROM AUTHOR]

This paper aims to throw light on the fact that transforming the letter into decoration can be not only a phenomenon of robbing the sign of its original meaning, but also an enrichment of the ornament with meanings for which it was not prepared. We witness, thus, the loss of the fundamental message in a sequence of signs, an irreparable and irreversible loss, subsequent to the reconfigurations determined by history, and also to the appearance of new semantic shapes. [ABSTRACT FROM AUTHOR]