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This essay examines an immersive audiovisual installation created by Paris-based Japanese composer and visual artist Ryoji Ikeda, who conjures micro/macro datascapes and their embodied experience, opening a new realm at the intersection of art and data, or data art. Ikeda interfaces his sound compositions with light, visuals, numerical data, and data visualization, bringing audible/inaudible and visible/invisible data into viewers' fields of perception. Focusing on his exhibition the transfinite at the Park Avenue Armory in New York City in 2011, I examine Ikeda's approach to temporal articulation in forging the viewer's spatiotemporal immersion into the datascapes in his signature large-scale screen-centric installation work. Ikeda's data composition—which evolved from his music composition—articulates a multi-substance of data from the infinitesimal to the infinite according to sonic media's micro-temporality, formulating a new sensibility of our world enmeshed in unfathomable data at the threshold of the viewer's perception. Given that Ikeda's body of art is integral to his music, I trace the expansion of the arc of his work from music to visual art, discussing his composition of glitch microsound and his early sound-light installation spectra II (2002). Finally, I highlight that Ikeda's screen-centric installations, stemming from his audiovisual performances and his association with the Japanese experimental collective Dumb Type's intermedia production, have shaped a new kind of installation art with a distinct temporal dimension, immersing viewers into the constantly instantiated presence of datascapes rather than into the images on the screen as the direct representation of reality. [ABSTRACT FROM AUTHOR]

Neutron tomography is gaining popularity particularly in cultural heritage research, for non-destructively analysing the inner structure of bulk metal artefacts, such as bronzes, but the induced temporary decay radiation is often considered as a drawback. However, this delayed gamma-emission can be put to good use: by performing gamma spectroscopy after neutron tomography, the interior elemental composition of artefacts can be obtained "for free". Inspired by this, we propose a ray-tracing approach to non-invasively quantify both interior geometry and elemental composition using only a single neutron tomography experiment. This strategy aligns well with both the aim for efficient use of neutron beam time and the expectation from curators and conservators for minimal neutron irradiation. Here, we outline the core principle of this method, demonstrate the extent of its quantification capability on bulk objects of known composition by fusing neutron tomography and delayed-gamma spectroscopy data sets. We also showcase its practical application on an ancient solid-cast Indonesian bronze statuette, by which we gain insights into how the pristine inner bronze segregated into a different composition than the surrounding shell. Similarly, the method allows us to quantify the composition of a hidden offering in the statuette that consecrates the bronze for worship purposes. [ABSTRACT FROM AUTHOR]

Brain-computer interface (BCI) technology has gained recognition in various fields, including clinical applications, assistive technology, and human-computer interaction research. BCI enables communication, control, and monitoring of the affective/cognitive states of users. Recently, BCI has also found applications in the artistic field, enabling real-time art composition using brain activity signals, and engaging performers, spectators, or an entire audience with brain activity-based artistic environments. Existing techniques use specific features of brain activity, such as the P300 wave and SSVEPs, to control drawing tools, rather than directly reflecting brain activity in the output image. In this study, we present a novel approach that uses a latent diffusion model, a type of deep neural network, to generate images directly from continuous brain activity. We demonstrate this technology using local field potentials from the neocortex of freely moving rats. This system continuously converted the recorded brain activity into images. Our end-to-end method for generating images from brain activity opens new possibilities for creative expression and experimentation. Notably, our results show that the generated images successfully reflect the dynamic and stochastic nature of the underlying neural activity, providing a unique procedure for visualization of brain function. [ABSTRACT FROM AUTHOR]

A group of wall painting fragments discovered at Ulpia Traiana Sarmizegetusa, an important Roman archeological site located in the former Roman province of Dacia (Romania), have been investigated with the aim of defining the material composition of their pictorial layers and exploring the pictorial technology used. In order to preserve the integrity of the murals and minimize sampling, an array of non- and micro-invasive techniques has been employed, including X-ray fluorescence, laser-induced breakdown spectroscopy, Fourier transform infrared spectroscopy, and hyperspectral imaging. In accordance with previous studies, the identified color palette was mainly based on iron-rich earth pigments (red and yellow ochres, green earth) and carbon-based blacks (soot/charcoal, bone black). Egyptian blue, lazurite, some lead-based pigments, and potentially indigo were also identified (in complex mixtures) on the uppermost paint layers, typically applied a secco over the a fresco background. The presence of expensive pigments and the existence of a red preparatory drawing, documented for the first time in the region, indicate that the original wall paintings had elaborate schemes and, secondly, reflect the patron's wealth and social status. Hyperspectral imaging was able to retrieve some faded paint layers in certain cases, helping to recover lost decorative details, an indicator of a more complex polychromy compared to what we see today. The obtained results add important contributions to the limited corpus of data regarding the technical know-how of decorative polychrome painting on plaster found in Roman archeological sites in Romania. [ABSTRACT FROM AUTHOR]

Conservation science, also known as heritage science or cultural heritage science, is a field that uses analytical methods to study art, archaeology, architecture, and archives. It combines concepts from various technical fields such as anthropology, chemistry, physics, and computer science. Advances in analytical methods have allowed for non-destructive analysis of art objects, the development of portable equipment for in-situ analysis, and collaborations with scientists from other fields. Challenges in the field include addressing global issues like climate change and sustainable tourism, integrating artificial intelligence into analytical techniques, and finding sustainable solutions for the display and storage of artwork. Collaboration and access to state-of-the-art instrumentation are crucial in cultural heritage research. This special issue aims to highlight recent advances in analytical methods for cultural heritage and address gaps in the field. [Extracted from the article]

Copyright of Journal of the College Of Basic Education is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

In order to explore the pattern characteristics and artistic value of the murals in the Mogao Grottoes, this paper takes the murals of the Song Dynasty as the research object. CNKI, Wanfang and other documents were searched to collect the artistic connotation and educational value of the murals in the Mogao Grottoes in the Song Dynasty, and the pattern features, materials and pigments in the murals were observed with the help of high-definition microscopes. Then, with the help of a 3D scanner (Japan, Canon, JN400 type) and hardness tester (China, Guangdong, H2002 type) testing tools, observe the composition art of the patterns in the mural. The results show that the murals in Mogao Grottoes are rich in dyes, which are mainly composed of alumina, iron oxide, iron oxide, copper sulfate, aluminum hydroxide, etc., and form a metal oxide film on the surface of the murals to prolong the color retention time of the murals. The motifs in the mural are composed from the lower corner to the upper left corner, and the composition of the hollow space is similar to that of Western oil paintings. During the Song Dynasty (960~1279 AD), the murals of the Mogao Grottoes were similar to Western oil paintings in terms of dyes, composition and aesthetics, and also highlighted the culture of the Western Regions in the Song Dynasty, which was an important case of cultural exchanges between China and the West, and played an important role in promoting the establishment of the concept of modern art education and the enrichment of its content. [ABSTRACT FROM AUTHOR]

This article follows the way the Austrian composer Dieter Kaufmann has gone with his conceptions taken from musical and extra-musical domains, as literature, visual arts, religion and politics, describing some of his theatrical works. For him the function of music is to improve the society and therefore his works are a critic to politics or to religion. Having studied in Paris by Olivier Messiaen, Pierre Schaeffer, François Bayle and René Leibowitz, he contributed to the development of the electronic music in Austria with his creation and his teaching of electroacoustic composition at the University of Music and Performing Arts in Vienna. He went further than the Parisian 'musique concrète', which worked with sound objects, and consciously selected and worked with objects of sound ambient in order to manage the sound environment, to musically shape it. The acousmatic art deals with sound objects, which are recorded and projected in another space, the theatre scene being an ideal space of it. A large part of his works are included in the genre of New Music Theater of the 20th and 21st century, where sound (tone and word) and movement come together, each of them having the same weight. [ABSTRACT FROM AUTHOR]

Tonia Marketaki's I timi tis agapis (The Price of Love, 1983) is a film adaptation of the novel Honour and Money (1912) by renowned Greek author Konstantinos Theotokis (1872-1923), the plot of which is set in Corfu in the early 20th century and revolves around a romance doomed to fail due to economic and social factors. As the article points out, before Marketaki's film, mainstream Greek cinema portrayed Corfu from a tourist perspective, with a few unconventional productions showing the island in an unflattering light. In The Price of Love, Marketaki departed from these traditions by capturing the island's beauty in pictorial compositions, giving it a fairytale quality. She combined this fairytale charm with Theotokis's social criticism and changed or added scenes to Honour and Money that expanded Theotokis's political commentary or gave it psychoanalytic dimensions. Marketaki's Corfu, the article argues, is a setting where significant social differences and Jung's universal, archetypal opposites intersect. The Price of Love thus encourages viewers to see the island in a new light and prompts a broader consideration of audiovisual representations of islands as part of a dialogue with previous or contemporary reconstructions and other disciplines. The article supports its argument through a comparative analysis of the film and the novel, also drawing material from Marketaki's archive. [ABSTRACT FROM AUTHOR]

Susan Howe's difficulty has often led critics to address her poetry in relation to language poets and abstract expressionists causing many to read her poems as painterly hybrids dependent on reader-beholder experience rather than meaning. Putting Howe's poetry in conversation with Modernist painting, I establish that Howe's painterly aspects, like her 1960s counterparts on the verge of an ontological crisis, cease to be painterly. Although Howe's poems engage with the problems at the end of Modernist painting--the possibility of white space and pictorial composition--they do so with a canvas that has come to function like a page. [ABSTRACT FROM AUTHOR]

The speech subjects and their speech acts stipulated in the application materials for the evaluation of professional titles of teachers in kindergartens, primary schools and secondary schools are analyzed. According to the speech act, the speech subjects in the "application form" and "evaluation form" are merged into six categories: specification experts, tabulation experts, applicants, recommenders, auditors and review experts. According to the theory of Chinese rhetoric, it is found that these six types of speech subjects appear in turn with the roles of both author and reader, and the relationship among them is more complex. The applicant has particularity in reading and writing: before filling in the form, he should try to figure out the design intention of the tabulation expert and the reading needs of the recommender, the auditor, especially the reviewer; at the time of filling in the form, he should answer the questions of the tabulation experts at one time and provide the information they need to the reviewers, recommenders, especially the review experts, and to express their meaning appropriately through speech acts consistent with their own identity. [ABSTRACT FROM AUTHOR]

Shoho Castle Maps are maps of castle towns throughout Japan drawn by Kano School painters on the order of the shogun in 1644. The Shoho Castle Map of Takada, Joetsu City, Niigata Prefecture was used to visualize local distortions in historical maps and to scrutinize the mapmaking process. A novel method, geographically weighted bidimensional regression, was developed and applied to visualize the local distortions of the map. Exaggerated expressions by mapmakers that have not been identified in previous studies were revealed. That is, in addition to the castle being drawn enlarged, the town where the merchants and artisans lived was drawn larger than the castle. Therefore, the Takada Shoho Castle Map reflects mapmakers' intentions, besides enlarging military facilities, which appear to have emphasized the pictorial composition of the map by placing the main gate to the castle at the center and drawing the map area evenly from the center in a well-balanced layout. [ABSTRACT FROM AUTHOR]

Copyright of Czech Journal of Historical Heritage Preservation / Zpravy Pamatkove Pece is the property of Narodni Pamatkovy Ustav 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 Jurisprudence Faculty Journal / Magallaẗ Kulliyyaẗ Al-fiqh is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 paper discusses a research study that offers readers an insight into the perception of visual images of action art in adulthood in the form of secondary and university students' responses to non-verbal communication through selected visual images. A work of art is an extra surplus product we can livewithout, but we do not rule out its existence. However, we want to decode non-verbal communication through action art correctly. In that case, it is necessaryto know the composition of works of art or the works themselves, which anindividual creates at any age. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Ensino em Artes, Moda e Design is the property of Universidade do Estado de Santa Catarina 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.)

Music composition is an art that allows the creator to encapsulate her/his personality and conceptions in an abstract manner, as well as to mirror his whole being into the music, like in a self-portrait. A single musical theme may be both the key to the evolution of the compositional techniques and a witness to the inner self transformations that occur during one's life. This study follows a theme and some of its iterations in other personal works over the last 25 years in order to capture the relation between life, creation and compositional traits, using the concepts of time and memory to explain the evolution of my own musical language. [ABSTRACT FROM AUTHOR]

Copyright of Anales de Historia del Arte is the property of Universidad Complutense de Madrid 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 paper discusses the theoretical basis of non-verbal communication of images in the perception of action creation in art. Knowing the nonverbal communication of images requires a specific educational and experience complex, influenced by individual determinants. We offer them in the following post, where we determine the elements of visual language, content-creating, and form-creating components of visual images. It is possible to decode non-verbal communication through graphical images if we know the composition of works of art. [ABSTRACT FROM AUTHOR]

The article examines the artistic rivalry in 17th-century Dutch landscape paintings. Topics discussed include a compositional scheme based on oblique, converging lines called diagonals introduced in landscape paintings, geometric composition patterns incorporated into natural scenery and rural village scenes as well as architectural features, and diagonal-triangular composition pattern in graphic landscape designs, and the spatial effect of perspective-based compositional strategies.

Copyright of ICT in Muzical Field / Tehnologii Informatice si de Comunicatie in Domeniul Muzical is the property of Tehnologii Informatice si de Comunicatie in Domeniul Muzical / ICT in Musical Field 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 Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid 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 article focuses on contrasting the 1616 Folio of Ben Jonson's works with the 1623 Shakespeare Folio, highlighting their divergent approaches in unifying their respective authors' oeuvres. Topics include the intentional unity in Jonson's publication, the fragmented and diverse nature of the Shakespeare Folio, and the challenges to the claimed authenticity and direct authorial involvement in Shakespeare's printed works.

Acquiring innovative styles and compositions from intricate and heterogeneous artistic imagery has emerged as a pivotal research quandry within contemporary new media art image conception. In a concerted effort to adeptly distill the quintessence of artistic styles and elements embedded within these visuals, an innovative methodology is posited herein, underpinned by an enhanced U-net segmentation framework and harmoniously fused with the surface extraction image reconstruction algorithm. This meticulous amalgamation endeavors to attain accurate segmentation and tridimen-sional reconstruction of the artistry encapsulated in these images. Primarily, the imagery is meticulously partitioned, culminating in an output that artfully encapsulates the inherent artistic attributes. Subsequently, this segmentation outcome is adeptly recon- stituted, bestowing form to a three-dimensional artistry model. Empirical validation substantiates the efficacy of this approach, with the method's Mean Intersection over the Union (MIoU) parameter yielding an impressive score of 0.939 in segmentation performance. Moreover, the peak signal-to-noise ratio and structural similarity attain commendable zeniths of 38.16 and 0.9808, respectively, underscoring the excellence of the reconstruction process. The proposed methodology demonstrates its prowess in exacting segmentation and comprehensive reconstruction of semantic intricacies and nuanced features pervading the realm of artistic imagery. Consequently, this novel methodology augments artists' capacity to discern diverse artistic paradigms and fabricate superlative new media art compositions of heightened caliber. [ABSTRACT FROM AUTHOR]

Copyright of Food & Machinery is the property of Food & Machinery Editorial Office 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.)

Constellation patterns are a family of Islamic geometric patterns that combine different stars in a tightly interconnected matrix with few subsidiary motifs. We exhibit 20 original star patterns in this traditional style and explain the strategy for creating them. The patterns are based on simple arrangements of circles on a triangular template. It is straightforward to enumerate templates, producing local configurations of stars. We show how to develop the candidate templates to produce repeat units that will tile the plane—a process that uses models from historic examples and relies on the experience and ingenuity of the designer. The enumeration recovers known traditional and modern designs, and leads to many new examples. We focus on patterns that include awkward stars. For example, 11-pointed stars occur in patterns with five different symmetry types and in combination with each of the other n-pointed stars for 8 ⩽ n ⩽ 16 . [ABSTRACT FROM AUTHOR]

This article explores the relationship between rock art and astronomy. Rock art refers to the creation of images on hard rock surfaces through painting or carving and can be found all over the world. The study of rock art is challenging due to its detachment from conventional archaeological contexts and the lack of firm chronologies for the motifs. The article discusses the different types of rock art, including figurative and abstract motifs, and examines the possible meanings behind these symbols. It also explores the representation of astral bodies, such as the Sun and the Moon, in rock art compositions. The article suggests that some rock art may have astronomical significance, including the depiction of celestial events like comets and the use of astronomical symbolism and alignments. The importance of the landscape in rock art and the need for further research on the relationship between rock art and the sky are also discussed. [Extracted from the article]

Introduction: Despite the considerable progress made in assisted reproductive technologies (ART), the implantation rate of transferred embryos remains low and in many cases, the reasons for failure remain unclear. We aimed to determine the potential impact of female and male partners' reproductive tract microbiome composition on ART outcome. Material and methods: The ART couples (n = 97) and healthy couples (n = 12) were recruited into the study. The smaller healthy group underwent a careful selection according to their reproductive and general health criteria. Both vaginal and semen samples were subjected to 16S rDNA sequencing to reveal the bacterial diversity and identify distinct microbial community types. Ethics statement: The study was approved by the Ethics Review Committee on Human Research of Tartu University, Tartu, Estonia (protocol no. 193/T‐16) on 31 May 2010. Participation in the research was voluntary. Written informed consent was obtained from all study participants. Results: The men with Acinetobacter‐associated community who had children in the past, had the highest ART success rate (P < 0.05). The women with bacterial vaginosis vaginal microbiome community and with L. iners‐predominant and L. gasseri‐predominant microbiome had a lower ART success rate than women with the L. crispatus‐predominant or the mixed lactic‐acid‐bacteria‐predominant type (P < 0.05). The 15 couples where both partners had beneficial microbiome types had a superior ART success rate of 53%, when compared with the rest of the couples (25%; P = 0.023). Conclusions: Microbiome disturbances in the genital tract of both partners tend to be associated with couple's infertility as well as lower ART success levels and may thus need attention before the ART procedure. The incorporation of genitourinary microbial screening as a part of the diagnostic evaluation process may become routine for ART patients if our results are confirmed by other studies. [ABSTRACT FROM AUTHOR]